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GIOVANNI  DELLA  ROBBIA 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/giovannidellarobOOmarq 


Princeton  Monographs  in  Art  and  Archaeology  VIII 


Giovanni  della  Robbia 


BY 

ALLAN  MARQUAND 

PROFESSOR  OF  ART  AND  ARCHAEOLOGY  IN  PRINCETON  UNIVERSITY 


PRINCETON  UNIVERSITY  PRESS 
PRINCETON 

LONDON:  HUMPHREY  MILEORD 
OXFORD  UNIVERSITY  PRESS 
1920 


Copyright,  1920,  by  Princeton  University  Press 


Printed  by  Princeton  University  Press 
Princeton,  N.  J.,  U.  S.  A. 
Published,  October,  1920 


THE  GETTY  CENTER 

UChA?/ 


TO  S.  M. 


( 


PREFACE 


In  this  volume  I have  presented  a Catalogue  Raisonné  of  the  works  of 
Giovanni  della  Robbia,  publishing  for  the  first  time  many  new  monuments 
and  new  documents.  The  writings  of  Dr.  Bode,  of  Marcel  Reymond,  and 
of  Miss  Cruttwell  will  have  made  the  public  sufficiently  familiar  with  Luca 
and  Andrea  della  Robbia,  but  no  one  has  brought  together  into  a unified 
treatise  the  works  of  Giovanni  della  Robbia.  The  present  volume  should 
present  to  the  eye  of  the  interested  student  a sufficient  number  of  works  by 
Giovanni  della  Robbia  to  enable  him  to  recognize  the  characteristics  of 
his  style.  In  other  volumes  we  may  hope  to  distinguish  the  correlated 
works  of  the  Buglioni,  and  of  Giovanni’s  brothers.  Logically  the  volume 
on  Andrea  della  Robbia  should  follow  the  monograph  on  Luca  della  Rob- 
bia, but  the  output  of  his  atelier  was  so  enormous  and  the  individualities  of 
his  successors  so  ill  defined,  that  I have  prefered  to  delay  publication,  hop- 
ing that  the  discovery  of  new  documents  may  shed  some  light  on  the  ob- 
scure portions  of  this  field. 

As  usual  I have  to  acknowledge  my  indebtedness  to  Mr.  Rufus  G.  Mather 
for  his  careful  revision  of  already  published  and  for  his  discovery  of  new 
documents. 


1 


I 


CONTENTS 

I.  Introduction  xi 

II.  Catalogue  of  Monuments i 

III.  Bibliography  and  Index 225 


INTRODUCTION 


i.  Biography. 

Giovanni  della  Robbia  was  born  on  the  nineteenth  of  May,  1469  at  three 
o’clock  in  the  morning,  and  was  baptized  on  the  following  day  (Doc.  1). 
The  baptismal  records  give  him  two  names  “Giovanni  et  Antonio,”  al- 
though he  was  known  only  by  the  former.  The  name  Giovanni  had  been 
borne  by  his  grand-uncle  Ser  Giovanni  della  Robbia,  a notary  and  chancel- 
lor of  Florence,  who  died  about  1451.  It  may  be  observed,  however,  that 
his  mother’s  name  was  Giovanna,  and  his  grandmother’s  Antonia,  a suffi- 
cient explanation  for  both  his  names.  The  same  record  gives  his  father’s 
name  as  Andrea  di  Giovanni,  a manifest  error,  as  Andrea’s  father’s  name 
was  Marco.  His  birthplace  was  in  the  family  home  in  the  Via  Guelfa, 
corner  of  Via  Nazionale,  purchased  in  1446  by  his  grand-uncles  Luca  and 
Marco  della  Robbia.  It  was  in  the  Popolo  di  San  Lorenzo,  and  the  Gon- 
falone di  Lione  doro.  Here,  surrounded  by  his  relatives,  Giovanni  lived 
and  worked  during  all  his  life.  Whether  to  be  set  up  in  Florence  or  its 
neighborhood,  or  in  some  distant  town  like  Arcevia  in  the  Marches,  his 
monuments  were  moulded  and  baked  in  this  house  on  the  Via  Guelfa  in  a 
room  called  the  anticucina,  where  was  the  furnace  and  mixing  troughs  used 
by  Andrea  della  Robbia  and  by  his  sons,  Giovanni,  Luca,  and  Girolamo 
(A.  J.  A.,  XXIII,  1920,  136-145). 

In  1502  or  1503  Giovanni  married  Tommasa  di  Carlo  di  Geri  Bartoli 
(Doc.  2-3).  This  connection  may  have  been  of  value  to  Giovanni  della 
Robbia.  The  Bartoli  family  were  represented  many  times  as  Priors  or 
Gonfalonieri  in  Florence.  One  of  them  Domenico  Bartoli,  with  his  wife 
Maddalena  Rucellai,  was  given  permission  to  decorate  the  Cappella  di  S. 
Maria  degli  Angeli  at  the  famous  Franciscan  monastery  at  La  Verna. 
Their  coats  of  arms  appear  upon  Andrea’s  very  beautiful  altarpiece  of  the 
Madonna  della  Cintola,  as  well  as  upon  two  later  altarpieces. 

Giovanni  and  Tommasa  had  five  children:  (1)  Marco,  born  Dec.  19, 
1503;  (2)  Filippo,  a painter,  born  Apr.  11,  1505;  (3)  Lucantonio,  born 
Apr.  14,  1506;  (4)  Alessandra,  born  Oct.  21,  1508,  married  in  1528  Lo- 
renzo di  Lionardo  di  Tommaso  Altoviti,  and  died  in  1570;  and  (5)  Simone, 
born  April  26,  1511.  One  son  died  on  Aug.  25,  1525,  and  two  in  1527, 
but  their  names  are  not  recorded  (Docs.  4-5).  Nor  is  it  known  whether 
any  of  Giovanni’s  sons  worked  in  his  atelier.  It  is  true  that  in  1518  his 
eldest  son  Marco  receipted  for  a part  of  the  compensation  due  to  Giovanni, 
but  this  does  not  necessarily  imply  participation  in  the  work. 

Giovanni  was  one  of  a family  of  twelve.  The  eldest,  Antonia,  born  Jan 


INTRODUCTION 


xii 

2i,  1465,  was  married  in  1485  to  Girolamo  di  Michele  di  Giovanni  Mascal- 
zone; the  second,  Marco,  born  Apr.  6,  1468,  became  Fra  Mattia  in  S.  Marco 
in  1496;  Giovanni  was  the  third;  the  fourth,  Paolo,  born  Nov.  2,  1470, 
became  a soldier;  the  fifth  was  Lisabetta,  born  Sept.  18,  1473;  the  sixth, 
Luca,  born  Aug.  26,  1475.  married  Sept.  4,  152 2 Agnoletta  di  Piero  di 
Paolo  Falconieri,  and  in  1528  Bartolommea  di  Lionardo  Altoviti;  the 
seventh,  Francesco  or  Pierfrancesco,  born  July  23,  1477,  became  Fra  Am- 
brogio in  S.  Marco  in  1495;  the  eighth,  Caterina,  born  Aug.  19,  1480,  be- 
came Suora  Speranza  in  the  Monasterio  di  S.  Lucia  in  1496;  the  ninth, 
Piero,  born  Apr.  14,  1483,  died  Jan.  1,  1493;  the  tenth,  Margherita,  born 
May  23,  i486,  became  Suora  Agnolina  in  the  Monasterio  di  S.  Lucia  in 
1502;  the  eleventh,  Girolamo,  born  Mar.  10,  1488,  married  in  1543  Luisa 
di  Piero  Mattei  ; the  twelfth,  Maria,  born  Sept.  1,  1492,  married  in  1513 
Tommaso  di  Marco  Fantini. 

Of  his  brothers,  Luca  and  Girolamo  worked  in  glazed  terra-cotta  and 
doubtless  collaborated  with  him  before  they  went  to  France  in  1528-1529. 
Fra  Mattia  and  Fra  Ambrogio  seem  to  have  been  more  independent  of  the 
family  atelier  and  had  a furnace  of  their  own  in  the  Marches. 

During  the  late  years  of  his  father's  life  Giovanni  was  the  most  produc- 
tive and  leading  spirit  in  the  atelier.  His  father’s  financial  resources  were 
doubtless  strained  to  care  for  his  large  family  and  Giovanni  was  expected 
to  provide  in  great  measure  for  himself.  So  we  find  him  entering  into 
contracts  on  his  own  account.  Possibly  he  was  extravagant  in  his  ex- 
penditures, as  the  documents  concerning  the  dot  he  was  to  receive  from  his 
wife  show  that  his  father  in  law,  Carlo  di  Geri  Bartoli  was  most  anxious 
to  avoid  risks.  It  may  be,  as  Mr.  Mather  suggests,  that  the  marriage  of 
Giovanni  and  Tommasa  was  contracted  without  mention  of  a dowry,  but 
Document  6 shows  that  in  1507,  1508,  and  1511  Carlo  purchased  securities 
for  this  purpose  amounting  altogether  to  538  florins,  10  soldi.  Possibly  the 
amount  promised  was  600  florins,  as  is  indicated  in  the  Spogli  dello  Strozzi 
(Doc.  3).  Giovanni  was  not  allowed  to  endanger  this  property  save  with 
the  consent  of  his  father  in  law,  and  for  a part  of  it  at  least  he  was  re- 
cjuired  also  to  have  his  father’s  consent. 

Giovanni  appears,  however,  to  have  drawn  against  this  account  (Doc.  7), 
to  have  received  interest  on  it,  and  to  have  made  various  reinvestments. 
Documents  8 and  9 indicate  that  after  the  death  of  his  father  and  father 
in  law  the  amount  of  the  dowry  remaining  in  the  Monte  decreased  ma- 
terially in  amount. 

On  the  14th  of  September  1522  Andrea  della  Robbia  made  his  will, 
adding  a codicil  on  the  18th  of  February  1523.  He  revoked  his  will  on 
the  third  of  June  1524.  He  died  on  August  4,  1525,  his  wife  Giovanna 
Paoli  having  predeceased  him.  Two  of  Andrea’s  sons  were  monks,  two  of 
his  daughters  nuns,  others  were  already  dead.  He  left  three  heirs  and  his 


INTRODUCTION 


xiii 


will  shows  that  he  desired  an  equal  distribution  of  his  property.  As  An- 
drea had  revoked  his  will  Giovanni  properly  states  that  his  father  died  in- 
testate (Doc.  io)  and  lays  claim  to  his  portion,  one  third.  The  other  claim- 
ants were  his  brothers  Luca  and  Girolamo,  both  of  whom  were  now  living  in 


France  (Doc.  n).  The  latter  document  is  dated  July  14,  1529;  by  March 
24th  of  the  following  year  his  wife  Tommasa  is  spoken  of  as  a widow. 
Hence  his  death,  of  which  we  have  no  specific  record,  must  have  occurred 
during  the  autumn  of  1529  or  the  early  months  of  1530. 

His  genealogy  in  part  is  as  follows  : 

Michele 

I 

Vanni 

I 

Marco,  d.  1382 

I 

Simone  (1343-1433) 


Ser  Giovanni  (1394-c.  1448)  Marco  (1388-1448)  Luca  (1399-1481) 


Filippo  Checca  Jacopo  Andrea  Simone  Paolo 

(1430-1433)  (1432-?)  (1432-?)  (1435-1525)  (1438-1521)  b.  1439 

m.  Andrea  Gori  m.  in  1464  Giovanna 

di  Piero  di  Ser  Lorenzo  Paoli 


Francesco  Margherita 
b.  1443  b.  1444 

m.  1460  to 
Tomaso  di 
Giovanni  di  Piero 


Giovanni  = 3'1  of  12  children  . 
(1469-1529) 


Marco  Filippo  Lucantonio  Alessandra  Simone 

b.  Dec.  19,  1503  b.  Apr.  11,  1505  b.  Oct.  21,  1506  b.  Oct.  21,  1508  b.  Apr.  26,  1511. 

m.  in  1528  to 
Lorenzo  di  Lionardo 
di  Tommaso  Altoviti 


2.  His  work. 

Although  Giovanni  was  not  matriculated  into  the  Arte  de’  Medici  e degli 
Speziali  until  the  year  1525  he  began  much  earlier  to  act  as  an  independent 
sculptor.  The  first  documented  work  for  which  he  as  an  individual  con- 
tracted was  the  Lavabo  in  S.  Maria  Novella  in  1497.  It  has  many  points 
of  contact  with  the  works  of  Andrea  della  Robbia,  in  whose  atelier  he  had 
been  employed  for  some  years.  In  spite  of  its  attractive  quality  it  shows 
a lack  of  originality,  and  a distinct  lapse  from  the  high  standard  of  beauty 
exhibited  in  the  works  of  his  father.  From  the  early  years  of  the  nine- 
teenth century  until  the  year  of  his  death  we  find  a series  of  dated,  docu- 
mented, and  at  least  two  signed  monuments.  The  following  list  may  be 
useful  even  to  those  who  have  the  catalogue  of  his  works  before  them.  It 
will  show  that  the  period  of  his  greatest  activity  was  between  1510  and 
x529-  during  the  greater  part  of  which  his  father  was  still  alive. 


XIV 


INTRODUCTION 


1.  Lavabo,  S.  Maria  Novella.  1497.  Documented. 

2.  Last  Judgment,  Volterra.  1501.  Dated. 

3.  Thirty-nine  Casks,  S.  Maria  Nuova,  1507.  Documented. 

4.  Stemma  of  Giovanni  Niccolini,  1509.  Dated. 

5.  Resurrection  Relief.  1510.  Dated. 

6.  Font  at  Cerreto  Guidi.  15 11.  Dated. 

7.  Stemma  of  Filippo  Sapiti.  1512.  Dated. 

8.  Font,  S.  Donato  in  Poggio.  1513.  Dated. 

9.  Altarpiece,  Arcevia.  1513.  Dated  and  Documented. 

10.  Candelabrum  bearing  Angels,  S.  Ambrogio.  1513.  Documented. 

11.  Altarpiece,  Buonsollazzo  (formerly).  1513.  Documented. 

12.  Altarpiece,  Museo  Nazionale,  No.  64.  1514-1515.  Documented. 

13.  Altarpiece,  Poggibonsi.  1514.  Dated. 

14.  Altarpiece,  Baltimore.  1515.  Dated. 

15.  Ciborio,  Vatican.  1515.  Dated. 

16.  Stemma  of  Niccolò  de'Pazzi.  1516.  Dated. 

17.  Font,  Galatrona.  1518.  Documented. 

18.  Altarpiece,  Pisa.  1520.  Dated  and  Documented. 

19.  Altarpiece,  Fiesole.  1520.  Dated. 

20.  Statue  of  S.  Romolo,  Fiesole.  1521.  Dated. 

21.  Stemma  of  Bishop  Folchi,  Fiesole.  1521.  Dated. 

22.  Lunette,  Museo  Nazionale,  No.  37.  1521.  Signed  and  Dated. 

23.  Altarpiece,  Museo  Nazionale,  No.  25.  1521.  Signed,  Dated,  Doc- 

umented. 

24.  Tabernacolo,  Via  Nazionale.  1522.  Dated. 

25.  Stemma  of  Arcangelo  Spigliati,  Museo  Nazionale,  No.  42.  1522 

Dated. 

26.  Medallion  heads  of  prophets,  apostles,  saints,  Certosa.  1523.  Docu- 
mented. 

27.  Statue  of  Isaiah.  Certosa  (formerly).  1523.  Documented. 

28.  Altarpiece,  Lowengard’s.  1523.  Dated. 

29.  Altarpiece,  Lamporecchio.  1524.  Dated  by  document. 

30.  Stemma  of  Raffaello  Corbinelli,  Certaldo.  1524.  Dated. 

31.  Stemma  of  Antonio  Pazzi.  S.  Giovanni  in  Valdarno.  1525.  Dated. 

32.  Ceppo  Hospital  Medallions,  Pistoia.  1525-1529.  Dated  and  Docu- 
mented. 

33.  Stemma  of  the  Particini,  Poppi.  1526.  Dated. 

34.  Stemma  of  Hippolito  Buondelmonti,  Pistoia.  1526.  Dated. 

35.  Stemma  of  Lorenzo  Lapi,  Scarperia.  1526.  Dated. 

36.  Madonna  and  Saints,  Arezzo.  1526.  Dated  by  document. 

37.  Stemma  of  Francesco  di  Casavecchia,  Scarperia.  1528.  Dated. 

Giovanni  continued  to  build  altarpieces,  large  and  small,  ciboria,  fonts, 
medallions,  and  occasionally  statues.  Occasionally,  as  in  the  monuments 
at  Galatrona,  he  used  exclusively  white  glazes;  but  ordinarily  his  works  are 


INTRODUCTION 


xv 


polychromatic.  Some  of  his  colours,  especially  his  blues  and  greens,  retain 
something  of  the  distinction  which  may  be  observed  in  the  works  of  Luca 
and  of  Andrea  della  Robbia.  But  as  a whole  his  colour  sense  was  not  re- 
fined and  many  of  his  works  are  gaudy  and  crude.  In  the  construction  of 
garlands  he  cared  little  for  rhythm  or  for  decoration  composition.  He 
sought  to  catch  the  eye  of  the  spectator  by  the  introduction  of  lizards, 
snails,  or  other  animalculi.  He  cared  so  much  for  naturalistic  effect  in 
representing  human  creatures  that  he  used  pink  or  other  glazes,  rather 
than  white,  for  flesh  tones,  and  frequently  left  the  nudes  unglazed  in  order 
that  they  might  be  painted  so  as  to  produce  effects  he  could  not  accomplish 
by  coloured  glazes.  Reds  had  always  caused  trouble  for  the  potter,  so  he 
often  left  the  tunic  of  the  Virgin  unglazed.  His  rendering  of  red  in  enamel 
was  not  the  charming  violet  of  Luca  or  Andrea,  but  a brown  of  crude, 
uninteresting  tone.  In  the  treatment  of  eyes  he  usually  merged  iris  and 
pupil  into  one  brown  mass.  In  fact  in  whatever  direction  we  turn  Giovanni 
impresses  us  as  a craftsman  lacking  in  the  higher  inspirations  of  artistic 
ideals. 


DOCUMENTS 

[Copied  by  Mr.  Rufus  G.  Mather.] 

r.  “Adi  20  di  decto  (Maggio  1469) 

Giovanni  et  Antonio  de  Andrea  di  Giovanni  popolo 

di  San  Lorenzo  nacque  adi  19  a hore  3 — bat0  addi  20.” 
[Archivio  dell’  Opera  di  S.  Maria  del  Fiore,  Libro  dei  Battezzati, 
1466-1473,  c.  6.] 

2.  “ 1 502  Giovanni  di  Andrea  della  Robbia 

Tommasa  di  Carlo  di  Geri  Bartoli’’ 

[Archivio  di  Stato,  Spoglio  dell  ’Ancisa,  See.  xvii.] 

3.  “Gio(vann)i  di  Andrea  della  Robbia  consumò  matrimoni0  con 
M"  Tom”  fig1'  di  Carlo  di  Geri  Bartoli  con  dote  di  fl.  600  l’anno  1503’’ 

[Spogli  dello  Strozzi  cod.  carta  Sec.  XVII,  segnato  Magliab.  Cl. 
XXXVII,  Cod.  299  c.  288,  Libro  D 116  Qr*  S.  Gio(vann)i  1465.] 

4.  “Septembre  1525 — uno  figluolo  di  Giovanni  della  Robbia 

adj  2 Recato  in  Sco  p°  me” 

[Arch,  di  stato.  Ufficio  della  grascia.  Libro  dei  Morti,  1524-1530, 
segnato  Arti  6 cod.  249.] 

5.  “27  Agosto  1527.  Del  Palagetto  in  casa  gio.  della  Robbia 

v’è  malato  due  fanciulli’’ 

[Gargani,  citation  from  Libro  del  Contagio  della  Misercordia,  1523- 
I530-] 


XVI 


INTRODUCTION 


6.  “ + yhs  + 1507 

Giovanni  d’Andrea  di  Marcho  della  Robbia  de  avere  adi  xj  di  dicembre 
1507  F.  cientocinquantadue  larghi  per  Nicholò  d’Andrea  Ghranacci  di 
questo  c.  iii  e chon  chondizione  che  di  detto  chredito  non  si  possi  fare 
alchuno  chontratto  sanza  licenza  di  Charllo  di  Gieri  Bartolj  ma  stia  e sia 
per  sichurta  e sodamento  di  dota  o parte  d’essa  della  Tommaxa  donna  di 
detto  Giovannj  e figluola  di  detto  Charllo  Bartolj  e chon  tutte  le  altre  chon- 
dizioni  chonsuete  sechondo  lo  stile  del  Monte  guadagnati  F.  100  adi  21 
di  luglio  1490  e F.  52  adi  16  di  giungno  1491.  F.  152. 

E de  avere  adj  20  di  giugnio  1508  F.  cinquanta  larghi  per  Lisabetta  di 
Geri  Risalitj  di  questo  c.  525  cholle  medesime  chondizioni  di  sopra  gua- 
dagnati adj  19  di  luglio  1491.  F.  50. 

E de  avere  adi  5 dj  marzo  1508  F.  cinquanta  larghi  per  Charllo  di  Gieri 
Bartoli  di  questo  c.  26  e chon  chondizione  che  non  se  ne  possi  fare  alchuno 
chontratto  sanza  licenza  di  Charllo  di  Gieri  Bartoli  e d’Andrea  di  Marcho 
della  Robbia  ma  stia  per  sichurta  e sodamento  di  dota  chome  di  sopra  jn 
forma  chonsueta  e chon  chondizione  che  ongni  volta  che  detto  Giovannj 
chonperasse  beni  jnmobilj  che  stieno  principalmente  obrighati  per  la  valuta 
di  detto  chredito  ala  detta  M.“  Tomaxa  tutto  a dichiarazione  di  detto  Charl- 
lo Bartoli  e di  detto  Andrea  della  Robia  o degli  uficialj  del  Monte  che  pe’ 
tempi  saranno  fatta  detta  chiarazione  detto  chredito  resti  libero  da  detta 
chondizione  guadagnati  F.  adi  20  di  novembre  1491.  F.  50. 

E de  avere  adi  detto  F.  cientosedicj  sol.  x larghi  per  Alberto  di  Giovannj 
Altovitj  di  questo  c.  533  e chon  le  medesime  chondizioni  di  sopra  che  sono 
ala  partita  di  F.  50  larghi  fatto  chreditore  jn  di  5 di  marzo  guadagnati  F. 
io.  18.  5 adi  7 d’ottobre  1490  e F.  62.  io  adi  18  di  febraio  1491  e F.  43. 
4.  7 adj  2 d’aghosto  1491.  F.  116  sol.  io  den. 

E de  avere  adj  7 di  marzo  1508  F.  ciento  setanta  larghi  per  Ma  Cilia 
d’Andrevolo  Nicholini  di  questo  c.  530  chon  le  medesime  chondizioni  di 
sopra  che  sono  a F.  io  e n larghi  guadagnati  F.  50  adi  6 di  giungnio  1491 
e F.  15.  14.  7 adi  8 di  giungnio  1491  e F.  44.  12.  3 adi  30  di  novembre  1491 
e F.  14.  15  - adi  26  di  novembre  1491  e F.  44.  18.  2 adi  20  di  febraio  1490. 
F.  170. 

F.  538.  io. 

Adi  22  d’ottobre  1511  poxa  (posta)  chondizione  ala  partita  di  F.  538 
larghi  che  Buonachorzo  d’Antonio  di  Ser  Bartolo  la  pigli  da  di  primo  di 
gienaio  15 11  a tutto  dicembre  1513  cioè  paghe  vi  di  licenza  di  detto  Gio- 
vannj al  Quaderno  c.  14. 

Posto  avere  al  Libro  Rosso  da  4 per  cento  c.  683  adi  13  di  marzi  1511. 
F.  538.  sol  io. 

[Archiv.  di  Stato,  Ufficio  del  Monte  da  4 %,  Libro  Deb.  e Cred.  1506- 
1509,  segnato  G.  c.  416.  Published  in  L’Arte,  XXII  (1919),  109- 
1 io.] 


Hie  mutatur 
Indictio 


Recognitio 


R(icordo)  ad 
gab(ellam) 


INTRODUCTION  xvii 

7.  “-f-  yhs  MDxiij  Indictio  prima 


Item  postea  dictis  Anno  Indictione  secunda  et  die  vij’  mensis 
octobris  Actum  i curia  mercantie  et  universitati  mercatorum 
civitatis  tiorentie  pntibus  (presentibus)  Antonio  pieri  francisci 
d(e)  gottolis  et  Johanne  andree  mei  alias  barbetta  numptijs 
ind(i)c(t)a  curia  testibus  etc  Johannis  andree  marci  d(e)lla 
robbia  scultor  et  Matheus  luce  fornarius  alpalagetto  et  quilibet 
eorum  I solidum  etc  p(er)  se  et  eorum  heredes  etc  et  eorum 
certa  scientia  et  5i  (omni)  modo  etc  fuerunt  còfessi  et  ricog- 
noverùt  se  esse  veros  et  limos  (legitimos)  debitores  Francisci 
bernardi  d(e)  Corbinellis  licet  abntis  (absentis)  et  mei  notar ij 
infrascripti  p(ro)  eo  recipientis  etc  d(e)  sum(m)a  et  quanti- 
tate Horenorum  octo  auri  lar.  i auro  p(ro)  valore  cuisdam 
panni  albi  v'1  (vocati)  pezzetta  biancha  bb  sexaginta  ut  (vel) 
circa  eisdem  venditi  et  p(ro)eo  recepti  a franc"  pieri  deiviva 
ut  asserverùt  diete  partes  Renumptiantes  etc  Quam  quantita- 
tem  f.  8.  dicti  Joh(ann)is  et  Matheus  et  q(ui)libet  eorum  in 
solidum  etc  unica  solutione  sufficiente  p(ro)miserunt  etc  sol- 
vere et  cum  effectu  pagare  eidem  frane"  d(e)  Corbinellis  licet 
ab(se)nti  etc  hinc  ad  octo  menses  px  (proximos)  futuros  sine 
aliqua  exceptione  Et  dcàm  solutionem  facere  florentie  pisis 
senis  rome  etc  Et  cum  sit  q(uod)  dictus  Joh(ann)is  sit  de- 
scriptus  creditor  I libro  nigro  montis  cois  (comunitatis)  flor- 
entie ad  c 683  f 538  lar.  d 4 p(ro)c"( cento)  Et  cù  sit 
-j-  yhs  MDxiij"  Indictio  secunda  (s  46) 
q hac  presenti  suprascripta  die  dictus  Joins  còdictionaverit 
dcùm  mòtem  (montem)  hoc  modo  vz  q(uod)  dictus  francisus 
de  Corbinellis  capiat  pagas  et  dona  dicti  crediti  montis  d 4 
p(ro)  c°  adie  p'ma  mensis  maij  px*  futuri  1517  ultra  Qua  pp 
(propter)  dictus  Johannis  omni  modo  etc  dedit  licentiam  dco 
frane"  d(e)  Corbinellis  licet  ab(se)nti  et  mihi  notaro  etc 
q(uo)  casti  quo  dictus  franciscus  de  corbinellis  tempore  quo 
supra  nò  essere  solutus  et  Satisfactus  a dcò  Joh(ann)e  v(e)l 
Matheo  vel  ab  altero  ipòrum  de  dels  f.  8 auri  lar.  i auro  q(uod) 
possit  et  riliceat  vendere  elapso  dcò  tempore  dcòrum  otto  men- 
sium  tot  pagas  s(upra)s(crip)ti  crediti  f 538  d(e)  quo  sup  q 
ascendant  ad  sum (m) am  dcòrum  f 8 p(ro)  tempore  dicti  anni 
1517  ultra  Et  casti  quo  dictus  franciscus  d(e)  corbinellis  ven- 
deret  dcàs  pagas  modis  et  formis  s(upra)s(crip)ti  p(er)  pro- 
senetas  ordinarios  montis  q(uod)  dictus  Joh(ann)is  nò  pos- 
sit ullo  unquam  tempore  dicere  vel  p(ro)ponere  q(uod)  dictus 
franciscus  d(e)  Corbinellis  eius  male  et  I dampnù  dicti 


xviii 

INTRODUCTION 

dota 

Joh(ann)is  vendiderit  Et  ex  nùc  dictus  Joh(ann)is  fecit 
p(ro)curatorum  etc  dcum  franciscum  d(e)  Corbinellis  licet 
absentem  etc  Splr(specialiter)  etc  pagas  dicti  s(upra)s(crip)ti 
crediti  f 538  montis  d 4 p(ro)  c°  d g°  sup  q(uod)  ascendant 
ad  dcàm  s(upra)s(crip)tam  summam  f 8 auri  lar.  inauro 
modis  et  formis  s(upra)s(crip)tis  Dans  etc  promittens  etc 
Que  oia  (omnia)  et  singula  s(upra)s(crip)ta  dicti  Joh(ann)is 
et  Matheus  referendo  singula  singulis  p(ro)miserunt  etc  ac- 
tendere  et  observare  sub  pena  f 25  auri  lar.  inauro  Que  pena 
etc  qua  pena  etc  p(ro)  quibus  etc  obligaverùt  etc  Renumpti- 
antes  etc  quibus  etc  p(er)  quarantigiam  etc  Rogantes  etc. 
[Archivio  di  Stato.  Rogiti  di  Ser  Lorenzo  di  Pierantonio 

Cardi,  Protocolli  1510-1516,  Segnato  C 137  c 45*  e 46  ] 

8.  “+  Mdxxvj 

Giovan(n)j  danda  di  marcho  della  Robbia  de  av- 
(er)e  adj  22  dotob(r)e  1526  f cinquecento  di- 
cotto s otto  dj  quatro  lj  segnati  indiv(i)si  tenpj 
al(i)b(r)o  I c 723  p(er)  tantj  levatj  di  suo  cèto 

dal(i)b(r)o  Rosso  I c 723 f 518  .8  .4 

Sono  ob(l)ighartj  p(er)  sodo  di  dota  dalla  tò- 
masa  sua  don(n)a  e digla  (di  licenza)  di  cario  di 
geri  b(ar)tolj  e che  di  f 338  .13.4  di  deta  sòma 
nò  sene  possa  fare  alchuno  còtratto  sanza  licèzia 
di  cario  b(ar)tolj  e dj  andrea  di  marcho  delaro- 

p(ost)a  arin- 
vestire 

bia  che  stano  p(er)  dota  chome  di  sop(r)a  Che 
le  pe  (partite)  di  detto  credito  sabino  arinvestire 
sino  a tamto  si  sia  riconperatj  f 20  s 1.4  di  similj 
crediti  sotto  detto  nome  e còdizne  p ro(resto)  di 
f 98  .6  .4  obligatj  arinvestire  I c 723 
Che  frane0  di  pierò  palagj  pigi j paghe  4 di  f 538 
e pe( paghe)  2 di  f 500 — eoe  jntt°(jn  tutto)  pe 

p ( agli  ) e 6 

6 nò  p(er)o  gudieàdo  etc  e fiinito  che  sia  el 
rinvestimèto  chome  di  sop(r)a — I c 723. 

Adj  29  dotob(r)e  1526  poste  còdiz”'  alepe  (ale 
paghe)  di  f 518  .8.4  che  frane”  di  pierò  palagj 
le  piglj  di  poj  che  tutte  le  còdiz"e  sino  a q°  dj  a 

pc  2 

posta  jn  detto  credito  saran(n)o  spirate  pe 
(paghe)  dua  nò  p(er)o  guidicàdo  etc  di  l(icen)- 

za  di  detto  govannj  al  q°  c 73 

E adj  16  di  novèbre  1526  f undicj  s sedicj  lj 
p(er)  gon(n)a  filippo  di  charlo  bartolj  dare  al- 
(i)b(r)o  h c 743  segnatj  adj  16  di  dicèbe  i486 

INTRODUCTION 


xix 


e colle  medesime  còdiz(io)nj  e disse  p(er) 

Rinvi'0  di  paglia f ii.ió 

530 

E adj  7 di  m(ar)zo  1526  f otto  s cinque  di  quat- 
to p(er)  zanobj  di  govan(n)j  tenpj  dare  in  q°  c 
437  segnatj  adj  5 di  m(ar)zo  1488  colle  mede- 
sime condizionj  disop(r)a  e p(er)  rinvestimen- 

to  di  pa( paglia) £8  5 4 

f 538  .9  .8 

Adj  3 di  genaio  1527  poste  còdiz1"1  alep(  agli) e di 
f 538.9.8  che  guliano  di  pierò  rucellaj  le  piglj 
dadj  p°  di  settembre  1529  a tutto  aghosto  1532 
Pe  9 eoe  pa  [paglia (e)]  9 nò  p(r)o  gudicàdo  etc  di 

l(icen)za  di  detto  govannj  delarobia  al  q"  c 44 
Adj  14  di  novébre  1528  poste  còdizne  alep"  di 
f 538.9.8  che  lucha  dj  andrea  della  robia  le 
piglj  da  oggj  att"  aghosto  1529  eoe  pa  3 nò 
P*  3 p(er)o  gudicàdo  etc  di  l(icen)za  di  detto  go- 

vannj e di  còsentiméto  di  frac"  dj  ziàro  p(er) 
ognj  suo  interesse  al  q°  c 98 
Addj  8 di  gennaio  1528  giulno  di  pro  rucellaj 
condizionaro  alla  pa  di  detto  c'°(chredito)  alla 
se  rinùtia  detta  conditiò  rinunzio  p(er)  detta  p”  libero  di 
licentia  di  detto  giovami j p(er)  lucha  dandrea 
dellarobia  conditionaro  alla  pa  di  detto  chredito 
ala  detta  condit  di  p°  rinùtio  p(er)  detta  pa 
libero  di  lica  di  detto  lucha  al  q°  c 125 
Giovami j detto  de  av(er)e  adj  22  dotobre  1526 
f 9 1 1.3.3  P(er)  r°(resto)  del(i)b(r)o  I c 723 
equal j sono  obrighatj  arinvestire  re  jnsimilj 

creditj  p(er)  la  còdizne f 9 1 1 3 3 

E adj  p"  di  genaio  1526  f 9 1 1 .5  .1  p(er)  la  pa  di  f 530  f 9 1 1 5 1 

E adj  p°  di  maggo  1527  f 9 1 1.17.1 1 p(er)  la  pa  di  f 530 — f 9 1 1 17  11 

E adj  p°  di  settèbre  1527  f 9 1 1.17.1 1 p(er)  la  p‘  di  f 538 — f 9 1 1 17  11 

E adj  p°  di  genaio  1527  f 9 1 1.17.1 1 p(er)  la  pa  di  f 538 — f 9 1 1 17  11 

E adj  p°  di  marzo  1528  f 9 1 1.17.11  p(er)  la  pa  di  f 538— f 9 1 1 17  il 

E adj  p°  di  settèbe  1528  f 9 1 1.17.1 1 p(er)  la  pa  di  f 538 — f 9 1 1 17  11 

E adj  p°  di  genaio  1528  f 9 1 1.17.11  p(er)  la  pa  di  f 538 — f 9 1 1 17  11 

E adj  p°  di  mago  1529  f 5 1 4 .3  .7  p(er)  la  pa  di  f 538— f 5 1 4 3 7 

f 77  1 17.19-5 

[Archivio  di  Stato,  Libro  Debitori  e Creditori  del  Monti  da  7 per  cento, 
anni  1525-15 26,  segnato  L c.  518.  Published  in  L’Arte,  XXII  (1919), 
1 io.] 


XX 


INTRODUCTION 


9.  Giovanni  dicòtro  dare  addi  30  gen0  1528 
f cèto  T (largha  = larghi)  p(er)  luj  a ant°  di  g° 
(giovannj)  danngello  avere  alibro  n c 549  di  lica 
(licenza)  di  detto  giovannj  e di  chonsétiméto 
dulivierj  di  cario  bartolj  cogto( cognato)  di  detto 
giovanni  ed  etià  di  chonsentimèto  di  detto  gio- 
vanni  p(ro)churatore  di  s(er)  rafaello  di 
charlo  bartolj  etià  cognato  di  detto  giovannj 
c(art)a  di  por"  (prochura)  p(er)  s(er) 
frane"  allegrj  addi  8 del  p(r)esente  e p(er) 
delib(er) adone  e ptito  (partito)  de  p(r)esentj 
ufitialj  di  mòte  roghato  s(er)  francesco  allegrj 
addi  26  di  p(r) esente  e mediate  una  conditione 
pa(posta)  allapa  (allapartita)  di  f 288.9.8  p(er) 
rifare  f 250  - la  di  detto  chredito  colle  dette  con- 
ditioni  che  jndetto  chredito  sono  chontenute  e 
indetto  partito  e mediante  una  p(r) omessa 
fatta  p(er)  dettj  f 250  p(er)  la  (licenza)  di  ldo 
altovitj  e p(er)  filippo  di  giovannj  delìarobia 
jn  favore  di  ma  tomasa  don(n)a  di  detto  gio- 
vannj jnsino  aitante  che  dette  pe( partite)  aranno 
rifatto  detta  sòma  sechondo  la  forma  di  detto 
p(ar)tito  ca(carta)  di  detta  p(r)omessa  p(er) 
ser  matteo  da  falgano  addi  29  del  p(r) esente  al 

q°(  quaderno)  c 140 v ..  .. 

E addi  detto  f cinqàta  p(er)  luj  a ant°  di  b(er)- 
nardo  bartolj  avere  alibro  n c 550  di  lica  e di 
charta  e di  chòsentiménto  e mediante  gli  ob  ( li  ) - 
ghj  e condizione  p°( posto)  alla  pa( partita)  in- 
tutto come  disop(r)a  al  q°  c 140 

E addi  p°  di  marzo  f cinqàta  p(er)  luj  a 
jac°  di  zerello  da  filichaia  avere  alibro  M c 281 
di  lie”  di  detto  giovati (n)j  e dichòsentimèto  par- 
tito e tutto  chome  disop(r)a . . 

R(icord)o  E adj  15  di  T°  (luglio)  1529  f trecentotretotto  s 
nove  dj  otto  4(larghj)  p(er)  tantj  postj  avere 

alibro  s‘°  O c 309 

538.9.8 

p(osto)  arm-  ^ddi  30  di  genn"  1528  posta  conditiò  alapa  di 
f 288.9.8  cholla  detta  pa (partita)  sabino  arinves- 
tire insimili  chrediti  sotto  nome  di  detto  giovan- 
nj e cholla  medesima  conditione  p(er)  sece(se- 
curitate)  di  dota  della  tomasa  sua  dona  e figlu- 


f 100  — 


f 50  — 
f 50 

f 338  .9  .8 


INTRODUCTION 


xxi 


ola  di  charlo  bartoli  come  statino  a f 199.16.4 
didetto  chredito  insino  aitato  che  di  detto  pa 
sisieno  richòpato  (richomperato)  f 250  1“  da  7 
p(ro)c(ent)o  non  po  g'"  (però  giudicato)  e di 
lica  di  detto  giovannj  al  q°  c 140 
1363  Giovannj  detto  de  dare  adj  16  di  novéb(r)e  jndj  31 
dotob(r)e  1526  f 9 1 1.3  p(or)to  alb(er)to  tenpj 
p(er)  av(er)e  rinvestito  jn  f i6(  ? ) . 1 6 di  móte- 
( monte)  sotto  detto  nome  a f 62  el  c°(el  cento)  da 


nerj  pittj  K"  alapa(alapartita) f 9 1 1 .3 

1843  E adj  7 dimarzo  jndj  28  di  feb(r)aio  1526  f 9 1 1.5 
p(or)to  govan(n)j  dellarobia  p(er)  av(er)e  finito 
elrinvestimento  de  f 8.5.4  p(er)  detto  resto  da  andrea 

gugnj f 9I  1 .5 

1419  E adj  16  di  luglio  indj  30  di  gug°  1527  f 9 1 1.17.8 
p(or)to  frane”  di  pierò  palagj  eondr”(condizionaro) 
alla  p”(partita)  dacherubino  fortinj  K(amerario) 

alap”  p(er)  ms°(maggo) f 9 1 1 .17  .8 

1002  E adj  4 di  novenb(r)e  jndj  31  dotob(r)e  f 9 1 1.17.8 
p(or)to  frac”  deto  da  girolamo  puccinj  K”  almòte 

p(er)  s”(settembre) £911.17  .8 

83  E adj  5 di  dicéb(r)e  1527  f 9 1 1.17.8  p(or)to  frac” 

deto  da  govan(n)j  belaccj  alepa  (ala  partito)  ..  ..  f 9 1 1 .17  .8 
137  E adj  11  dap(ri)le  1526  f 9 1 1.18  p(or)to  frane” 
detto  da  frane"  torganj  alep”  pln  pa  (per  la  pagha  o 

partita)  di  maggio  1528 f 9 1 1 .18 

386  E adj  25  daghosto  1528  f 6 1 3 p(or)to  frane”  detto 

da  b(er)n(ar)do  ghondj  alle  p”  p(er)  s”  1528  ..  ..  f 6 1 3 — 

870  E adj  11  disettèb(r)e  1528  f 2 e s 8.4  p(or)to  frane” 
palagj  condjr°  (condizionaro)  di  b(ernar)do  ghondj 

alep”  p(er)  re(resto)  di  settèb(r)e  1526 f 2 1 — 8 .4 

2153  E addj  16  di  novèb(r)e  jndj  31  dottobre  1 3.1  p(or)to 
frane”  palagj  condjr"  da  pierò  davazatj  almòte  p(er) 

ro (resto)  di  settèb(r)e  (15)26 f-13  -1 

774  E adj  8 digenaio  1528  f 3 1 - 12  (5  words  written  and 
cancelled)  anzi  a lca  (luca)  di  andrea  della  robia  con- 
dizr°  p(or)to  e detto  da  bacazio  (branchazio)  s(er)- 

zellj  K°  allep”  p(er)  g(ennaio)  (15)28 f 3 1 — 12 

994  E adj  23  detto  f 6 1 1.5.8  p(or)to  giovannj  detto 

dabachazio  s(er)zellj  p go(B,UBno)  (15)28 f 6 1 1 .5  .8 

672  E adj  26  dap  (ri)  le  1529  f - 1 3.19.8  a govannj  detto 
p(or)to  E di  1"”  altovitj  suo  genero  di  sua  T”  insino 
non  dice  altro  da  verj  baldovinj  p mo(m”rzo)  (15)29  . . f — 1 3 .19  .8 


XXII 


INTRODUCTION 


E de  dare  addj  24  di  m(ar)zo  1529  f 5 1 - s 5 . j 
p(er)  t(a)ntj  posto  av(er)e  alib(r)o  st0  O c 309  p 

ro(reSto)  di  q°(questo)  conto f 5 1 — 5 j 

f 76 1 22.10.9 
f 1 4. 1 1. 9 


f 77  1 I7-I9-5 


10.  “Yhs 

MDxxviiij  Indictione  2“  de  mense  Julij  (In  margine:  Aditio  heretitatis) . 

Item  postea  dictis  anno  indictione  die  (xiiij)  et  loco  et  coram  dictis 
supracriptis  testibus  etc. 

Pateat  omnibus  evidenter  qualiter  Johannis  quondam  Andree  Marci  della 
Robbia  de  Florentia  Asserans  et  affirmans  dictum  Andream  eius  patrem 
mortuum  esse  et  decessisse  ab  intestato  jam  sunt  annj  tres  proximj  elapsi 
et  ultra  relictis  post  se  dictis  Johanne  et  Hyeronimo  et  Luca  eius  filijs  le- 
gitimis  et  naturalibus  et  nullis  alijs  relictis  habientibus  eos  excludere  ab 
hereditate  vel  successione  dicti  Andree  eorum  patris  aut  etiam  eis  et  aliqua 
parte  concurrere  Et  sciens  et  cognoscens  prefatus  Johannes  hereditatem 
dicti  Andree  eius  quondam  patris  eidem  pro  tertia  parte  ab  intestato  fusse 
et  esse  delatam  illamque  fore  et  etiam  sibj  portius  utilem  et  lucrosam  quam 
dannosam  jdeo  hereditatem  predictam  sibi  ut  supra  pro  dicta  tertia  parte 
ab  intestato  delatam  et  pertinentem  et  pro  omnj  alia  parte  et  portione  etc. 
Adivit  et  omnj  meliorj  modo’  etc.  Asserens  et  Protestans  et  Rogans  etc. 

[Archivio  di  Stato,  Rogiti  di  Ser  Matteo  da  Falgano,  Protocolli  1527- 
1530,  segnato  Notai  M.  300  a.  c.  297';  published  in  L’Arte,  XXII  (1919), 
in.] 

11.  Giovami j dicòtto  dedare  addi  14  di  luglio  1529  f 
cinq(u)a(n)ta  p(er)  lui  a matteo  di  br"(bernardo) 
chopini  avere  alib(r)o  M c 70  di  lica  (licenza)  di  detto 
giovanni  e di  còsent*"  dulivieri  di  charlo  b(ar)toli  e 
di  còsent'0  di  detto  giovannj  dellarobia  p(ro)  chura- 
tore  di  ser  rafaello  di  charlo  b(ar)toli  cognati  di  detto 
giovanni  e frategli  di  don(na)  Tomasa  don(n)a  di 
detto  giovanni  cn(  carta)  di  p(ro)chura  p(er) 

s(er)  frane0  allegrj  sotto  suo  di  ed  etiam  di  chon- 
sent'°  di  detto  giovanni  dellarobia  jn  suo  nome  ì primo 
chome  erede  della  0/3  p(ar)te  abintest'0  danda  di- 
marcho  dellarobia  suo  padre  ed  etià  di  sua  lic“  come 
p(ro)churatore  di  lucha  e girol™0  sua  frateglj  rede 
ciascun  di  loro  p(er)la  0/3  p(ar)te  abintest'0  di  detto 
anda  condition"  (conditionaro)  detto  and”  in  detto 


INTRODUCTION 


xxiii 

chredito  ca  di  petizione  deredita  e pora(prochura) 
p(er)  detto  giovanili  di  detto  and”  p(er)  s(er)  matt" 
da  falg°  q°  di  ca  di  petizione  e di  por"  p(er)  detti 
lucha  e girol'”0  p(er)  s(er)  ant°  puzquota(?)  notaro 
publicho  di  parigj  có  lettera  testimoniale  adi  6 di 
giugno  1529  ed  etià  p(er)  delib(er)atione  e p(ar)tito 
de  p(r)esète  ufitialj  de  mòte  e luogho  di  padre  di 
detta  ma  tomasa  rog"  s(er)  frane"  allegrj  addi  26 
di  gennaio  1528  e mediate  una  chondizione  posta 
alla  p°( partita)  di  f.  288.9.8  di  detto  chredito  sechon- 
do  la  forma  di  di  detto  partito  e mediate  etià  una 
promessa  fatta  in  favore  di  detta  ma  tomasa  p(er) 
filippo  di  giovanili  dellarobia  e l°(lorenzo)  di  f°(lion- 
ardo)  altoviti  sechondo  la  disposizione  di  detto  p(ar)- 
tito  ca  di  detta  p(r)omessa  p(er)  s(er)  matt"  da  falg" 

addi  29  di  gemi"  1528  al  q°  55-56 f 50 

E addi  3 di  novenbre  1530  f venticinque  1' (larghi) 
p(er)  lui  a m“  ginevra  v“( vedova)  donna  fu  di  mat- 
teo  di  nicholo  av(er)e  ì qe  c 822  di  la  di  1°  di  l‘°  altoviti 
p(ro)ochuratore  di  ma  tommaxa  donna  fu  di  detto 
giovannj  della  Robbia  allei  attentj  chome  dicòtro  cta 
di  p(r)ochura  ì detto  p(er)  s(er)  frane"  allegrj  q° 
p(r)exète  di  al  q"° 55  f 25 

Credito  l0  quale  ct0 (chredito)  disse  detto  1"  p(r)ochuratore 
p(er)e  detto  Ricevere  dalla  detta  ma  tomaxa  p(er) 
parte  di  f 90  dro  di  p(r)ezo  di  una  chasa  allei  venduta 
R'°(roghato)  chome  disse  s(er)  matteo  da  falgano 
q°  di  al  q°  55 

1492  Gjovannj  di  chótro  de  dare  addj  24  di  m(ar)zo  I 28  di 
febraio  1529  f 15  1 o s 12  dj  4 a m‘  tommaxa  sua 
donna  e quali  stavevamo  a Rinvestire  come  nella  còdne 
di  còtro  si  dice  ma  p(er)  essere  p(er)  sua  dota  della- 
quale  a fatto  line  e allej  si  danno  p(er)  chòputare 
p(er)  sua  dota  p(er)  ro( resto)  da  giovannj  CapnJ 

alle  p(r)estanze f 1 5 1 — 12  4 

E adi  detto  f 15  1 0.12.4  fece  fine  Rhogato  s(er) 
matteo  da  falgano  come  di  chótro  q°  di  24  di  marzo 

E de  dare  f io  1 - s 10.3  p(er)  tantj  posto  ala  ma(n) 
data  (15)29  p(er)  ro (resto)  sino  a g"  1530  fiol-  io  3 

[Archivio  di  Stato  Ufficio  del  Monte,  Libro  Debi- 
tori e Creditori,  da  7%,  O,  1529-1530,  c.  309;  pub- 
lished in  L’Arte,  XXII  (1919),  1 1 1 . ] 


XXIV 


INTRODUCTION 


12.  “+  MDXXVIII0 

Giovanni  danda  di  inarcho  della  Robia  de  avere  addi 
14  di  luglio  1529  jndi  14  detto  ftrecétotrètotto  s nove 
dj  otto  scritti  jn  div(er)si  tenpi  apare  alib(r)o  I c 723 
p(er)  tàtj  levati  di  suo  còto  dalib(r)  g'°(gaillo)  s(er) 

L f 338  9 8 

dota  chenonsenepossafare  alchunchontrato  sanza  lica  dota 
di  cario  b(ar)tolj  e dand"  dimarcho  dellarobia  che 
stanno  p(er)  sodo  di  dota  della  tomaxa  figluola  di 
charlo  di  geri  bartoli  e don(n)a  di  detto  giovannj 
come  apare  alib(r)o  L c 518 

arinvestire  Chelle  pe  di  f 288.9.8  sabino  a rinvestire  jn  simili 
chrediti  sotto  detto  nome  e conditione  p(er)  sodo  di 
dota  della  tom(m)axa  insino  al  tato  chredito  pa  si 
sia  ricóp(ens)ato  f 250  - la(largha)  da  7 p(er) 
c(ent)o  Apparetenghono  a ma  tommaxa  va  figliuola  di 
charlo  di  geri  b(ar)toli  p(er)  le  sue  Ragionj  dotai j 
ellafìne  p(er)  lej  fatta  agli  eredi  di  detto  giovannj 
della  Robia  Roghato  s(er)  matteo  da  falgano  addi 
24  di  m(arz)  20  1529  etc. 

E addi  5 di  novenb(r)e  1530  f dugétosessantatre  s 
nove  dj  otto  1‘  p(er)  lui  a lixabetta  di  b(arto)lmto  da 
empoli  av(er)e  i q°  c 842  di  1“  di  1°  altovitj  p(r)ocura- 
tore  chome  dichótro  e p(er)  la  chagone  chome  la 

p(ar)tita  de  f 25  dichótro  al  q°  c 53 f 263  9 8 

263.9.8 

75 


f 338-9-8 

Giovannj  sop(ra) adetto  de  av(er)e  adi  p"  di  setté- 

b(r)e  1529  f 5 1 - 3.8  p(er)  la  p(partita)  di  f 288  . . f 5 1 - 3 8 

E addi  pmo  di  gennaio  1529  f 5 1 - 3.8  p(er)  la  pa  di 

f 288 f 5 1 - 3 8 

E de  hav(er)e  addi  24  di  m(ar)zo  1529  f 5 1 - 5.1 
p(er)  tantj  postj  dare  p(er)  R°( Resto)  di  uno  suo 

chòto  allib(r)o  g ( ia) Ilo  s°  L c 518  f 5 1 — 5 1 

E addi  pmo  di  setéb(r)e  1530  f io  1 - 10.2  p(er)  2 

p(artite)  di  f 288 f iol-  io  2 


[Idem,  Idem.] 


f 25  1 1.2.7 


II.  CATALOGUE  OF  MONUMENTS 


Before  1500 


Before  1500 


1 LAVABO.  Florence.  S.  Maria  Novella  (Sacristy).  149 7.  H., 

4.14m.;  W.,  2.34m.  (including  garlands).  Photos.,  Alinari,  2276, 
3633;  Brogi,  5639-5461;  3481. 

Neither  Luca  nor  Andrea  della  Robbia  were  ever  called  upon  to  con- 
struct a lavabo,  yet  so  attractive  is  the  lavabo  in  S.  Maria  Novella  (Fig.  1), 
that  not  only  writers  like  Richa  and  Fantozzi,  but  even  a Charles  C.  Per- 
kins, attributed  it  to  Luca  himself.  A few  like  Barbet  de  Jouy  saw  in  it  a 
stronger  resemblance  to  Andrea’s  handiwork.  It  was  not  until  1878  that 
Milanesi,  in  publishing  his  second  edition  of  Vasari,  revealed  from  the 
archives  of  S.  Maria  Novella  that  the  true  author  was  Giovanni  della 
Robbia,  and  the  date  of  the  monument  1497. 

Andrea  di  Lazzaro  Cavalcanti,  known  also  as  Buggiano,  in  1440  had  sur- 
rounded a lavabo  with  a tabernacle  or  architectural  frame,  such  as  were 
used  by  the  Florentines  for  altarpieces,  tombs,  and  ciboria.  Andrea  della 
Robbia  at  S.  Fiora  had  already  placed  a baptismal  font  in  a framed 
terra-cotta  niche  and  above  it  displayed  a pictorial  relief  of  the  Baptism  of 
Christ.  This  leads  us  to  believe  that  the  faience  painting  immediately  above 
the  font  is  also  connected  with  it  in  significance.  It  is  not  a representation 
of  the  sea,  as  is  frequently  affirmed,  but  of  a river  (the  Arno?)  rising  in 
distant  hills,  supplying  the  wants  of  cities,  and  finally  reaching  the  lavabo 
itself.  S.  Maria,  the  patroness  of  the  church  adored  by  angels,  is  in  the 
lunette  above  and  over  her  head  the  stemma  or  emblem  of  the  Dominicans. 

The  marble  font  may  have  been  designed  by  Giovanni,  at  least  all  of  its 
decorative  features  appear  in  other  works  of  his.  Above  the  font  are 
marble  slabs  with  nondescript  engraved  ornaments  and  two  cherub  heads 
from  whose  mouths  issue  ugly  faucets  for  hot  and  cold  water,  below  which 
is  engraved  the  inscription  Ablute  fonte  prins  te  quarn  pia  sacra  ministres 
non  licet  impura  tangere  sancte  maim.  These  marble  slabs  date  from  the 
XVIII  century. 

The  faience  landscape,  though  more  attractive  than  Giovanni’s  later 
paintings,  foreshadows  in  its  indiscriminate  colouring  something  of  the 
garishness  of  his  later  productions.  It  is  framed  in  imitation  of  a vault 
with  a double  row  of  cofferings  each  containing  a five  petalled  plain  or 
wheel  rosette,  white  against  blue.  The  inner  faces  of  the  supports  of  the 


4 


GIOVANNI  DELLA  ROBBIA 


vault  are  decorated  (Fig.  la)  : ( i ) to  the  right  with  squares  enclosing  equi- 
lateral triangles,  violet,  green,  yellow  and  blue;  (2)  to  the  left  an  all-over 
pattern  of  squares,  each  inclosing  four  segments  of  circles  and  a crude 
rosette.  The  technique  is  similar  to  that  of  cloisonné  enamelling  on  copper. 

The  base  of  the  tabernacle  shows  a central  dado  of  quadrangular  tiles 
each  bordered  with  green  leaves  against  a yellow  background  and  contain- 


Florence,  S.  Maria  Novella,  \ ! 


Fig.  i. — Lavabo. 


GIOVANNI  DELLA  ROBBIA 


5 


ing  a central  wheel  rosette — in  beauty  inferior  to  Andrea’s  pavement  tiles 
at  Empoli,  S.  Gemignano  and  elsewhere.  At  each  side  are  projecting 
pedestals  faced  with  rectangular  tiles  on  which  are  painted  elaborate,  dol- 
phin handled  vases  set  on  bases  ornamented  with  griffins,  and  containing 
each  a bunch  of  fruit,  flowers,  and  wheat.  The  inner  face  of  the  pilaster 
to  the  right  is  decorated  with  scale  pattern,  green,  yellow  and  blue,  that  to 
the  left  with  blue  squares  ornamented  with  white  quatrefoils. 

The  pilasters  are  extremely  similar  to  those  of  Andrea’s  altarpiece  in 


Fig.  i a.  Tile  Decoration  of  Lavabo. 


the  Medici  Chapel  in  S.  Croce,  but  their  dolphin  capitals  are  thoroughly 
characteristic  of  Giovanni.  The  spandrels  contain  elaborate,  white  rosettes 
in  disks  set  against  a mottled  violet — imitation  of  porphyry — background. 
The  entablature  is  unusually  well  proportioned  with  its  candelabrum  and 
garland  frieze,  white  on  blue,  studied  from  Andrea’s  frieze  in  S.  Maria 
delle  Carceri  at  Prato,  and  its  minor  mouldings  studied  from  Desiderio  da 
Settignano. 

In  the  lunette  (Lig.  2)  the  Madonna  with  the  nude  standing  Child  wor- 
shipped by  angels  was  not  an  uncommon  subject  with  Andrea  della  Rob- 
bia. In  the  lunette  of  1489  in  the  Opera  del  Duomo  the  motive  represented 
by  the  Child  is  slightly  different,  but  the  lunette  in  the  Berlin  Museum 
(No.  97),  and  that  over  the  portal  of  the  Cathedral  at  Pistoia  presents  the 


6 


GIOVANNI  DELLA  ROBBIA 


same  composition.  The  type  of  the  Madonna  and  the  Child  differ  but  lit- 
tle from  Andrea’s  later  productions.  The  form  of  the  heads  is  more 
rounded,  and  the  manner  of  indicating  the  eyes — with  linear  brow,  and  an 
upper  lash  only,  and  with  no  distinction  between  pupil  and  iris — show  a 
growth  in  carelessness.  Gilding  in  the  background,  haloes,  collars,  etc. 
made  the  relief  more  brilliant.  The  two  angels,  however,  are  more  origi- 
nal and  have  a charm  which  Giovanni  soon  lost.  It  may  be  noted  that  the 
frame  of  the  lunette  is  decorated  by  a broad  band  of  uprising  fruit  and 
flowers,  not  broken  into  separate  bunches.  The  principle  of  the  composi- 


Fig.  2.— Lunette  of  Lavabo. 


tion  appears  to  be  that  of  a central  line  of  varied  fruit,  flanked  either  by 
another  kind  of  fruit  or  by  flowers.  At  the  top  is  the  emblem  or  coat  of 
arms  of  the  Convent  of  S.  Maria  Novella:  Per  chevron,  sable  and  argent, 
in  base  a star  of  eight  points  gules;  symbolizing  the  black  Dominican  mantle 
opening  over  the  white  tunic. 

Possibly  to  Andrea's  example,  as  well  as  that  of  Desiderio  da  Settignano, 
belongs  the  use  of  garland-bearing  putti  above  the  entablature.  The  vase 
above  the  top  of  the  lunette  has  disappeared,  but  its  pedestal  and  the  lilies  it 


GIOVANNI  DELLA  ROBBIA 


7 


carries  still  remain.  This  motive  was  used  in  the  tabernacle  at  SS.  Apostoli 
and  in  several  other  monuments.  Giovanni  did  not  share  Luca’s  and  An- 
drea’s love  of  children.  His  putti  were  chubby  creatures  with  rings  of  flesh 
about  their  ankles  and  wrists  and  deep  wrinkles  on  their  legs.  Though 
usually  curly  locked  their  heads  were  variously  treated  and  sometimes  bereft 
of  hair. 

Documents: — [Copied  by  Mr.  R.  G.  Mather.] 
i.  “1498 

Lebraio 


A giovannj  della  robbia  dadj  27  digenaio 
1497  p(er)  isino  adj  4 di  febraio-  1498  f(iorini) 
quatt0  larghi  doro  loro  sono  p(er)  el 
residuo  dellavatoio  delle  manj  cio(eJ 
peTpavimento  alle  Ricordanze  V C40-  1 27  s 8" 

[Archrv."  di  Stato,  Entrata  e Uscita,  dal  28  di  Giugno  1497  al  12  di 
Aprile  1510,  di  Sagrestia  di  S”M”  Novella-  segnato  Corporazioni  Sop- 
presse 102,  Appendice  N°  19  a c.  89.] 

2.  “1498 

Lebraio  . . . . 


A giovannj  della  robbia  dadi  27  digen(n)aio 

per  insino  (cancelled)  adj  (error  in  text)  1497  p(er)  isino 

adj  4 . di  febraio  1498  f quatro  larghi 

doro  Toro  sono  p(er)  residuo  dellavatoio 

delle  mane  cioè  pel  pavim(en)to  alle  Ricordanze  C40-  1 27  s 8” 
[Archiv.  idem,  Entrata  e Uscita,  dal  28  Giugno  1497  al  29  Luglio  1510, 
di  Sagrestia  di  S”Mn  Novella-  segnato  Corporazioni  Soppresse  102,  Ap- 
pendice N°  20  a c.  89b] 

Bibl.  : 

Bacci,  III.  Fior.,  1908,  140-143;  B-J.,  65;  B.,  Kf.,  19,  23;  It.  PI.,  94; 
Denkrn.,  89,  Taf.  276;  W.  D.  R.,  Taf.  44;  Buri.,  52,  108;  Cahier, 
Car.  d.  Saints,  I,  84,  390,  s.v.  Etoile;  C-M.,  100,  124,  128,  210  No. 
32;  Cr.,  216-218,  328;  Lov.,  117,  120;  Lee,  Cont.  Rev.,  1901,  369-; 
R.  G.  M.,  L’Arte  (1918),  205-206,  XII,  1-2  (Doc.)  ; M.,  Sc.  Mag., 
1893,  686;  Perkins,  T.  S.,  198;  R.,  D.  R.,  227-229;  Se.  FI,  IV,  50; 
Richa,  III,  45;  S.,  131  Abb.  141;  Vas.  II,  182  note,  193  note. 

X t Pv  H:  ' Aleuti#  , , i ? **  V C * 


8 GIOVANNI  DELLA  ROBBIA 

2 KNEELING  MADONNA.  New  York.  Metropolitan  Museum 
Statuette.  H.,  O.  42m.  Photo.,  Museum. 

This  statuette  (Fig.  3),  was  purchased  through  the  Rogers  fund  in  1907. 
The  Madonna  here  kneels  in  adoration;  the  Child  whom  she  worships  is 
absent.  She  wears  a white  veil  and  light  blue  mantle  decorated  with  con- 


Fig.  3. — Kneeling  Madonna.  Metropolitan  Museum. 

ventionalized  flowers.  At  Arcevia  the  Madonna’s  mantle  is  decorated  with 
similar  moderation;  at  Volterra,  much  more  elaborately.  Not  only  the 
face  and  hands,  but  also  the  robe  are  unglazed.  In  type  she  recalls  Gio- 
vanni’s Madonna  of  1497  in  the  lunette  of  the  lavabo  in  S.  Maria  Novella. 

Bibl.  : 

M.,  D.  R.  A.,  105-106,  Fig.  42. 

3 KNEELING  MADONNA.  New  York.  Mrs.  Bejamin  Thaw  collec- 
tion. Statue.  H.,  1.23m.  Photo.,  P.  W.  French  and  Co. 

This  large  Madonna  (Fig.  4)  belonged  originally  to  a Presepio  or  Na- 
tivity group,  the  whereabouts  of  the  other  figures  being  unknown.  It  came 


GIOVANNI  DELLA  ROBBIA 


9 


to  New  York  through  Messrs  P.  W.  French  & Co.,  who  state  that  it  was 
originally  in  a convent  in  Florence.  The  face,  hair,  hands  and  tunic  are 
unglazed,  the  head  cloth  is  glazed  white  and  the  mantle  a rich  blue  lined 
green. 

Although  in  certain  details,  such  as  the  neck  of  the  tunic  and  the  fasten- 


Fig.  4. — Kneeling  Madonna.  Thaw  Collection. 

ing  of  the  mantle,  not  thoroughly  characteristic  of  Giovanni  della  Robbia 
it  may  be  attributed  to  that  sculptor.  It  resembles  in  type  the  Madonna 
in  S.  Michele,  Volterra,  which  Giovanni  probably  executed  at  the  end  of 
the  fifteenth  or  during  the  first  decade  of  the  sixteenth  century. 

Bibl.  : 

M.,  Arts  & Dec.,  VI  (Nov.  1915),  26,  Frontispiece. 

4 MADONNA  WITH  NUDE,  STANDING  CHILD.  Volterra.  S. 
Michele.  Photo.,  Alinari,  34611  ; Lombardi,  2614. 

In  the  church  of  S.  Michele  Arcangelo  set  in  a marble  niche  is  a seated 
Madonna  with  nude,  standing  child  (Fig.  5).  The  nudes  are  unglazed. 
The  Madonna  wears  a violet  robe,  dark  blue  mantle,  white  head  cloth. 
The  Child  stands  on  a cushion  and  holds  a bird  in  his  left  hand.  In  type 
the  Madonna  is  not  far  removed  from  that  of  the  polychromatic  altarpiece 
in  the  cathedral  at  Arezzo.  She  is  also  closely  related  to  the  kneeling  Ma- 
donna in  the  Thaw  Collection,  New  York. 

Bibl.  : 

Ricci,  Volterra,  143. 


IO 


GIOVANNI  DELLA  ROBBIA 


Fig.  5. — Madonna.  Volterra,  S.  Michele. 

5 S.  LUCIA.  Empoli.  S.  Maria  a Ripa  (Empoli  Vecchio).  Statue 
in  niche.  H.,  1.47m.  Photo.,  Alinari,  10131. 

In  technique  and  style  this  statue  (Fig.  6)  may  be  classed  with  the  Ma- 
donna at  Volterra.  Her  face,  hair  and  mantle  are  unglazed.  The  glazed 
portions  are  the  white  kerchief,  blue  robe,  white  girdle,  green  palm  branches, 
violet  book,  on  which  are  two  white  eyes  and  yellow  bosses,  and  the  mottled 
violet  base  on  which  she  stands.  Her  robe  was  decorated  and  bordered 
with  gold. 

A document  cited  by  Giglioli  indicates  that  the  statue  originally  stood  in 
a terra-cotta  tabernacle  preserved  in  the  garden  of  the  monastery  of  the 
Minori  Osservanti  di  San  Francesco  to  whom  the  church  was  given  by  the 
Adimari  family  in  1483.  The  monastery  was  suppressed  Sept.  13,  1810. 
This  tabernacle  is  probably  the  one  preserved  in  the  Galleria  della  Collegiata 
in  Empoli. 

Document:  [Quoted  from  Giglioli,  Empoli  artìstica,  p.  173.] 

“Altare  0 cappella  di  S.  Lucia  concesso  da  i frati  a Lorenzo  dì  Tom- 
maso Marchetti  da  Empoli  nel  1640  da  lui  restaurato , et  abbillito,  fu  prima 


GIOVANNI  DELLA  ROBBIA  n 

il  detto  altare  concesso  al  conte  Cosimo  della  G Iterar desca  et  al  Medesimo 
Altare  era  apposta  in  un  tabernacolo  di  terra  cotta  che  difatti  si  trova  nel 
bosco  di  detto  Convento , V immagine  pure  di  terra  cotta  di  S.  Lucia,  che  in 
oggi  sta  in  una  nicchia  di  pietra  a man  dritta  dall  Aitar  Maggiore  di  detta 
Chiesa.” 

[Archivio  dell’Opera  di  Sant’ Andrea  d’Empoli.  Campione  Beneficiale 
A.,  c.  I45r-1 


Fig.  6. — S.  Lucia.  Empoli,  S.  Maria  a Ripa. 


Bibl.  : 

Carocci,  il  Valdarno,  79,  81  ; C-M.,  126,  255  No.  138;  Cr.,  229,  328; 
Giglioli,  171-173  (Doc.);  R.,  D.  R.,  258;  Se.  FI,  IV,  63;  S.,  143, 
Abb.  162. 

6 HOLY  WATER  STOUP.  Piesole.  S.  Ansano.  Photos.,  Alinari. 
3284,  3285;  Brogi,  9828-9829.  Casts,  Cantagalli,  450;  Lelli,  384. 

A holy  water  stoup  of  variegated  marble  (modern)  is  here  set  on  a Rob- 
bia console  (Lig.  7).  About  it  are  arranged  fragments  of  a fruit  and 
flower  garland  upheld  by  two  nude  putti,  not  unlike  the  garland  bearers  of 
the  Lavabo  in  S.  Maria  Novella  or  those  above  the  niche  with  the  statue  of 
S.  Domenico  in  the  Museo  Nazionale,  No.  68. 

Above  the  stoup  is  set  a tondo,  with  broad  frame  of  fruit  and  flowers  ir- 
regularly composed,  containing  a bust  of  a child  (S.  Giovannino?)  with 


12 


GIOVANNI  DELLA  ROBBIA 


nudes  unglazed  and  loose  cloak  of  blue  lined  green.  The  medallion  seems 
to  be  by  another  hand. 


Bibl.  : 

Carocci,  I,  118;  C-M.,  250  No.  282;  Cr.,  344. 


7 TWO  ANGELS,  LRAGMENTS  OL  A GARLAND.  Liesole.  S. 
Ansano. 


Probably  from  the  atelier  of  Giovanni  della  Robbia. 


Bibl.  : 

C-M.,  259  No.  282;  Cr.,  344. 


GIOVANNI  DELLA  ROBBIA 


13 

8 S.  PIETRO  MARTIRE.  Arezzo.  S.  Domenico.  Niche.  H.,  2.60m.  ; 

W.,  1.40m.  Photo.,  Alinari,  9718-9719. 

S.  Pietro  Martire,  standing  on  a circular  base  probably  once  inscribed,  is 
portrayed  in  white  tunic,  black  mantle,  carrying  a green  martyr’s  palm  and 
a blue  book  with  yellow  ornaments  (Fig.  8).  Nudes  unglazed.  The  niche 
in  which  he  stands  is  most  elaborate.  The  pilasters  are  decorated  with 
floral  arabesques  rising  from  vases,  their  bases  unornamented,  and  capitals 
of  the  cornucopia  variety  shown  in  the  altarpiece  of  the  Last  Judgment  at 
Volterra.  The  fruit  ornament  of  the  archivolt  and  diapered  mosaics  of 
the  predella  also  link  this  with  the  Volterra  altarpiece.  The  back  of  the 


Fig.  8. — S.  Pietro  Martire.  Arezzo,  S.  Domenico. 


14 


GIOVANNI  DELLA  ROBBIA 


niche  repeats  the  design  of  the  Empoli,  S.  Gemignano,  and  other  pavements. 

The  predella  shows  in  a roiling  country  S.  Pietro  Martire  escaped  from 
stoning  but  being  killed  by  a sword  blow  in  the  head.  Above  his  head,  be- 
sides the  nimbus  are  three  crowns. 

Bibl.  : 

Burl.,  1 12;  C-M.,  224  No.  1 18  ; Cr.,  230,  327;  R.,  D.  R.,  258;  Sc.  FI., 

IV,  64;  S.,  143,  Abb.  159. 

9 BUST  OF  S.  PIETRO  MARTIRE.  Florence.  Palazzo  Alessandri. 

A fine  bust  of  S.  Pietro  Martire  of  similar  type  to  the  statue  at  Arezzo  is 
said  to  be  in  the  Palazzo  Alessandri. 

Bibl.  : 

Cr.,  231,  235,  329;  S.,  143. 

10  S.  DOMENICO  IN  A NICHE.  Florence.  Museo  Nazionale,  No.  68. 

H.,  2.30m.;  W.,  1. 20m.  Photos.,  Alinari,  2753;  Brogi,  9473. 

Transferred  by  the  Operai  of  S.  Croce  to  the  Museo  Nazionale  on  April 
15,  1868. 

S.  Domenico,  standing  on  a polygonal  pedestal  (Fig.  9),  is  clad  in  white 
tunic,  over  which  is  the  Dominican  black  mantle,  modelled  in  similar  fash- 
ion to  that  of  S.  Pietro  Martire  at  Arezzo.  He  is  in  a niche  capped  by 
a blue  shell.  He  carries  a book  the  cover  of  which  is  adorned  with  the 
Dominican  emblem,  a star. 

In  all  probability  there  was  once  a predella  of  which  only  the  cornice  re- 
mains. The  pilasters  are  decorated  with  candalabra,  ornamented  with 
cornucopias,  leafy  masks,  vases,  and  tablets  which  probably  once  bore  the 
date;  they  have  plain  moulded  bases  and  capitals  like  those  of  the  lavabo 
in  S.  Maria  Novella  (1497).  Stilt  blocks  above  the  capitals  are  deco- 
rated like  architraves.  The  archivolt  is  adorned  with  garlands  which  hang 
to  right  and  left  from  a white  band,  composed  of  fluted  ribbons.  The 
garland  is  composed  of  fruit  arranged  in  pairs  interspersed  with  flowers, 
not  separated  into  distinct  bunches.  Above  the  arched  niche  at  its  apex  is 
a console  bearing  a large  blue  vase  filled  with  roses  and  lilies.  From  the 
console  hang  garlands  of  fruit  and  flowers  also  arranged  in  pairs  and  up- 
held by  putti,  not  completely  nude,  who  stand  upon  acroteria  decorated 
with  wheel  rosettes. 

Bibl.  : 

B.  J.,  87-88;  Burl.,  hi;  C-M.,  218  No.  74;  Cr.,  231,  328;  Supino, 

450  No.  68. 


GIOVANNI  DELLA  ROBBIA 


15 


Fig.  9. — S.  Domenico.  Florence,  Museo  Nazionale. 


11  CIBORIO.  Florence.  SS.  Apostoli.  H.,  2.70m.;  W.,  2.43m 
Photo.,  Alinari,  3659;  Brogi,  8593-8595. 

The  attribution  of  this  ciborio  (Fig.  io)  is  not  fixed  with  certainty. 
Madame  Burlamacchi  mentions  Bocchi,  Del  Migliore,  Ridia,  Morelli,  Gargi- 
olli,  von  Rumohr.  Bulgarini,  Fantozzi  and  Rio  as  assigning  it  to  Luca. 
Cavallucci  and  Molinier,  and  at  one  time  Bode,  assigned  it  to  Andrea.  Rey- 
mond  hesitates  between  Andrea  and  Giovanni,  while  Bode,  Cruttwell  and 
Schubring  attribute  it  to  Giovanni.  This  hesitation  on  the  part  of  recent 
writers  is  easily  to  be  explained,  since  the  design  is  evidently  closely  re- 
lated to  that  of  Giovanni’s  Lavabo  of  1497  and  the  pilasters  suggest  the 
design  for  the  Arcevia  altarpiece  of  1513,  whereas  the  figures  are  more 
closely  related  to  Andrea’s  types.  It  may  have  been  made  in  the  studio 
dominated  by  Giovanni,  by  a sculptor  trained  under  Andrea. 

At  the  apex  the  branch  of  roses  and  foliage  is  a recent  stucco  addition. 


lVAu.  X ì*i  \MXcX  i 'OX  JiikS.  Ik  X Jii.  X ; 


■* ; ' 


1 6 GIOVANNI  DELLA  ROBBIA 

From  a somewhat  heavy  vase  supported  by  winged  putti  hang  long  gar- 
lands, as  in  Giovanni’s  lavabo  in  S.  Maria.  The  putti  are  here  more  sum- 
marily modelled  than  in  the  lavabo,  and  the  exact  point  of  attachment  of 
the  garland  equally  obscure.  The  putti  on  the  entablature  are  seated,  not 


Fig.  io. — Ciborio.  Florence,  SS.  Apostoli. 

standing,  and  the  garlands  are  heavier  than  those  of  the  lavabo.  The  lu- 
nette is  bounded  by  coarse  egg  and  dart  mouldings,  between  which  is  the 
delicate  arabesque  frequently  used  in  Andrea’s  atelier.  In  the  lunette  is 
God  the  Father  between  adoring  angels.  On  the  open  book  we  should  ex- 


GIOVANNI  DELLA  ROBBIA 


1 7 


pect  to  find  the  letters  A and  The  entablature  is  well  proportioned  : the 
architrave  highly  ornamented  with  scales,  bead  and  reel,  channellings,  and 
egg  and  dart;  the  frieze  with  five  attractive  cherub  heads;  and  the  cornice 
with  leaf  and  other  mouldings.  The  pilasters  indicate  Giovanni’s  influ- 
ence, with  vase  and  dolphin  capitals  and  arabesque  decoration  similar  to 
that  of  the  pilasters  of  the  Arcevia  altarpiece. 

The  central  relief  represents  a vaulted  hall  with  a closet  to  contain  the 
sacred  emblems,  while  overhead  is  the  Dove  and  at  the  sides  adoring 
angels  in  pairs.  The  floor  is  represented  as  tiled.  Cherub  heads  in  the 
spandrels.  The  many  traces  of  gilding  are  not  indicative  of  Luca's  author- 
ship, as  Rio  states,  but  found  even  more  frequently  in  the  works  of  Andrea 
and  other  members  of  the  school. 

At  the  sides  of  the  tabernacle  are  two  winged  angels  drawing  back  long 
hanging  curtains.  Like  the  crown  bearing  angels  in  the  lunette  at  Pistoia 
Cathedral  they  wear  pectorals  on  their  breasts. 

The  predella  is  long  and  narrow.  Its  cornice  bears  the  inscription:  HIC 
EST  PANIS  OVI  DE  CELO  DESCENDIT;  its  frieze  represents  two 
floating  angels  bearing  a laurel  framed  medallion  on  which  are  the  chalice 
and  wafer.  At  the  extremities  of  the  frieze  are  stemmi  of  the  Acciaiuoli 
family  on  shields  of  Tuscan  form  prevalent  in  the  early  sixteenth  century. 
The  arms  are,  Argent,  a lion  rampant,  azure.  Many  members  of  this  fam- 
ily held  the  office  of  Prior  and  Gonfaloniere  in  Florence. 


Bibl.  : 


B.  J.,  90;  Bocchi-Cinelli,  124;  B.,  Kf.,  23;  It.  PL,  94;  Burger,  157; 
C-M.,  205  No.  2;  Cr.,  218,  328;  M.,  D.  R.  A.,  90,  Fig.  39;  R.  H.,  111- 
112;  Migliore,  474:  Prioristà,  Princeton  Mus.  Copy,  29-33;  R.,  D.  R., 
229-230;  Sc.  FI.,  IV,  49,  52;  Richa,  IV,  62;  von  Rumohr,  II,  295 
note;  S.,  133,  Abb.  142;  Schiitz,  C.  Heft  7;  Vas.,  II,  192. 

^ x 


t 


* 


1500-1510 


I5°° — I5I° 


12  THE  LAST  JUDGMENT.  1501.  Volterra.  S.  Girolamo.  H„ 
3.10m.;  W.,  2m.  Photos.,  Alinari,  8745-8746;  Brogi,  13692. 

In  the  church  of  S.  Girolamo  outside  of  Volterra  is  an  altarpiece  of  the 
Last  Judgment  (Fig.  11)  ordered  by  Michelangelo  Ceheregli  (Ceccarelli ?) 
in  1501.  Hence,  Michelangelo's  patronymic  saint,  S.  Michele,  appears  as 
the  principal  figure  in  the  foreground,  while  S.  Girolamo  is  figured  as  chief 
of  the  blessed.  Many  details  point  to  Giovanni  della  Robbia  as  the  author 
of  the  altarpiece. 

The  subject  of  the  Last  Judgment  appeared  not  infrequently  in  Sienese 
territory  after  Giovanni  Pisano  had  portrayed  it  so  energetically  on  the 
pulpit  of  the  Siena  Cathedral.  But  this  specific  composition  may  have  been 
inspired  by  Fra  Bartolommeo’s  Last  Judgment  undertaken  in  1498  for  the 
campo  santo  of  S.  Maria  Nuova.  In  both  cases,  Christ  as  Judge  with  his 
angels  is  in  the  upper  portion  of  the  picture,  and  S.  Michele  with  the  Blessed 
and  Damned  in  the  lower. 

Here  Christ  is  of  the  Verrocchian  type  constantly  portrayed  by  Giovanni 
della  Robbia.  So  in  facial  characters  are  the  two  angels  who  carry  em- 
blems of  the  passion,  nails,  cross,  crown  of  thorns,  spear;  but  their  slashed 
garments  which  display  the  bare  legs  point  rather  to  a temporary  influence 
from  Andrea  Sansovino,  whose  terra-cotta  altarpiece  at  Monte  Sansovino 
was  doubtless  enamelled  in  the  Robbia  workshop.  The  two  angels  who 
sound  the  last  trump  SVRGITE  MORTVI  ET  VENITE  AL  (sic) 
IVDICIO(sic)  show  no  such  refined  prototypes. 

In  the  lower  part  of  the  picture,  the  Blessed  are  to  our  left.  Near  to 
S.  Michele  is  S.  Girolamo  with  his  lion,  then  a Christ-like  figure,  S.  Fran- 
cesco with  his  cross,  S.  Chiara,  a Pope,  a warrior,  and  others.  Above  them 
in  the  distance,  saints  and  angels  are  dancing  in  a circle  (influence  of  Fra 
Angelico)  beneath  a blue  sky  splashed  with  yellow  clouds.  S.  Michele  is 
conceived  of  as  a beautiful  youth  rather  than  as  an  avenging  angel  and  the 
youth  kneeling  at  his  feet  seems  too  innocent  to  be  barred  from  the  region 
of  the  Blessed.  The  eyes  of  S.  Michele  show  yellow  irises  in  contrast  with 
those  of  the  kneeling  youth  which  are  left  white.  About  and  above  the 
youth  are  strange  beasts,  men,  and  women  in  the  midst  of  flames.  In  the 
distance  are  devils  torturing  the  damned  beneath  a sky  splashed  with  black 
clouds. 


22 


GIOVANNI  DELLA  ROBBIA 


Fig.  il. — Last  Judgment.  Volterra,  S.  Girolamo. 


The  predella  is  inscribed  OVEST  A TAVOLA  ALLATTO  LARE 
MICHELAGNIOLO  DI  NICHOLAO  CEHEREGLI  MCCCCCI.  At 
either  end  of  the  predella  is  a mosaic  work  of  sc|tiares,  each  with  four  seg- 
ments of  circles  about  a central  rosette,  as  at  S.  Maria  Novella  and  else- 


GIOVANNI  DELLA  ROBBIA 


23 


where.  The  relief  of  the  Annunciation,  the  Nativity  and  the  Adoration  of 
the  Magi  suggest  Andrea’s  compositions  reversed.  The  central  dividing 
panels  are  decorated  with  opposing  bunches  of  fruit. 

The  main  pilasters  are  decorated  with  crude  triplex  bunches  of  flowers 
and  fruit,  blue  or  yellow,  rising  from  blue  and  violet  dolphin-handled  vases. 
The  bases  have  undecorated  mouldings,  the  capitals  have  cornucopias  in 
place  of  fern  crockets  or  palmettes.  The  frame  of  the  lunette  is  adorned 
in  front  with  broad  continuous  garlands  composed  of  triplex  bunches  of 
fruit  hanging  from  a central  ornament. 

A white  guilloche  separates  the  polychromatic  relief  from  the  outer  frame. 

Bibl.  : 

B.  J.,  93;  B„  Kf.,  25;  C-M.,  258  No.  343;  Cr.,  224-225,  331  ; Knapp, 
Fra  Bartolommeo  della  Porta,  Abb.  3-4  ; R.,  D.  R.,  233-236  ; Sc.  FI., 
Ill,  52,  54;  Ricci,  Volterra,  1 52-153;  S.,  134,  Abb.  143;  Vas.,  II,  196. 

V.  * ft  ^ /XXLrll'tl  \ ^ 

13  NOLI  ME  TANGERE.  Rifredi.  La  Quiete.  R.  Istituto  delle  Sig- 
nore Montalve.  Lunette.  M.,  1.30m.;  W.,  2.40m.  Photo.,  Alinari 
1701 1. 

This  lunette  (Lig.  12)  was  formerly  in  the  chapel  of  the  Reale  Istituto 
delle  Signore  Montalve  in  S.  Jacopo  di  Ripoli  in  the  Via  della  Scala,  but 
was  removed  late  in  the  nineteenth  century  to  the  Sala  Grande  of  the  Con- 
servatorio of  La  Quiete.  It  has  been  increased  in  height  to  correspond  with 


Fig.  12. — Noli  Me  Tangere.  Rifredi.  La  Quiete. 


24 


GIOVANNI  DELLA  ROBBIA 


the  lunette  on  the  opposite  side  of  the  room.  Here  is  represented  the  ap- 
pearance of  Christ  to  S.  Maria  Maddalena  (John  XX,  11-18),  a subject 
repeated  several  times  in  Giovanni’s  atelier.  Chronologically  this  lunette 
falls  between  1497,  the  date  of  the  Lavabo,  and  1501,  the  date  of  the  Last 
Judgment  at  Volterra.  The  polychromatic  landscape,  the  trees,  the  type 
of  the  angel  on  the  tomb  are  cpiite  characteristic  of  Giovanni.  The  central 
group,  with  the  Maddalena  on  her  knees  before  the  Christ  who  draws  back, 
shows  the  influence  of  Verrocchio.  The  Maddalena  is  more  beautiful  than 
was  usual  with  Verrocchio,  but  Giovanni  again  made  a beautiful  Madda- 
lena, for  the  altarpiece  in  the  Bardi  chapel  at  S.  Croce.  The  Christ  is 
strangely  Verrocchian  in  type. 


Bibl.  : 

B.  ].,  64-65;  Becchi,  III.  Fior.,  V(i9o8),  102;  B.,  Kf.,  23;  Burl.,  63; 
Carocci,  A.  I.  D.  I.,  VI(i97),  66;  C-M.,  208  No.  16;  Cr.,  235,  353 
Note  1 ; Moreni,  243;  R.,  D.  R.,  250;  Sc.  FI.,  IV,  41  ; Richa,  IV,  305; 
S.,  138.  ^ v Hr»  (K  t ri**? 

14  THE  INCREDULITY  OF  S.  TOMMASO.  Rifredi.  La  Quiete. 
R.  Istituto  delle  Signore  Montalve.  Lunette.  H.,  1.30m.;  W.,  2.40m. 
Photo.,  Alinari,  17012. 


This  lunette  (Fig.  13),  a companion  piece  to  the  preceding,  was  evidently 
made  by  the  same  author  and  at  the  same  time.  It  represents  the  appear- 


Fig.  13. — Incredulity  of  S.  Tommaso.  Rifredi,  La  Quiete. 


GIOVANNI  DELLA  ROBBIA 


25 


ance  of  Christ  to  S.  Tommaso,  not  indoors  (John  XX,  24-29),  but  in  an 
open  landscape.  The  landscape  background  has  a dark  blue  upper  and  bril- 
liant yellow  lower  sky,  green  trees  and  plants  of  various  kinds,  and  a 
bluish  gray  rocky  soil  in  which  may  be  seen  a lizard,  dove,  rabbit  and 
deer.  In  the  centre  is  a free  copy  of  Verrocchio’s  bronze  group  of  the  In- 
credulity of  S.  Tommaso  (1483)  on  Or  San  Michele.  There  is  little  or 
nothing  in  this  relief  to  indicate  that  the  author  was  a son  of  Andrea  della 
Robbia  and  yet  all  the  details  are  characteristic  of  Giovanni  della  Rob- 
bia's work. 

Bibl.  : 

Cf.  the  preceding;  also  Cr.,  Verrocchio,  165;  Mackowsky,  70;  Sachs, 
41-  A t>  iX  ' 1^-  . 

15  LRIEZE  OF  CHERUB  HEADS  WITH  CORNUCOPIAS.  Ri- 
fredi.  La  Quiete.  R.  Istituto  delle  Signore  Montalve.  H.,  0.36m.  ; 
W.,  2.20m.  Photo.,  Alinari,  17013. 

In  two  sections,  each  containing  four  cherub  heads  set  between  cornu- 
copias, with  fruit  and  doves,  accompanied  by  foliage,  scrolls  and  palmettes 
(Fig.  14).  White  on  blue. 


Fig.  14. — Frieze.  Rifredi,  La  Quiete. 


Bibl.  : 

Carocci,  A.  I.  D.  I.  VI (1897),  Tav.  46;  C-M.,  208  No.  16;  Cr.,  353. 

SAME  SUBJECT.  London.  British  Museum. 

hrom  the  Franks  Collection.  A portion  of  a frieze  similar  to  that  at 
Rifedi. 

Bibl.  : 

Br.  Mus.  Guide,  209. 


26  GIOVANNI  DELLA  ROBBIA 

SAME  SUBJECT.  Newport,  R.  I. 


In  the  collection  of  Mrs.  Ogden  Goelet  there  is  said  to  be  a frieze  of 
this  type. 

SAME  SUBJECT.  New  York.  P.  W.  French  and  Co.,  in  1917. 

Two  fragments  of  a frieze  of  the  Rifredi  type. 

SAME  SUBJECT.  Paris.  Louvre. 

Similar  to  the  frieze  at  Rifredi,  the  British  Museum  and  elsewhere.  Set 
beneath  the  altarpiece  of  the  Ascension. 

SAME  SUBJECT.  Paris.  Gavet  Collection  (formerly).  EL,  0.36m.; 
W.,  0.52m. 

Portion  of  a frieze  of  the  same  design  as  that  of  Rifredi. 

Bibl.  : 

Molinier,  Cat.  Gavet,  No.  5 and  Frontispiece. 

SAME  SUBJECT.  Paris.  Seillière  Collection  (formerly).  H. ,0.37m.; 
W.,  1. 60m. 

Bibl.  : 

Seillière  Collection,  14  Nos.  8-9. 

16  S.  FRANCESCO  SPREADS  HIS  ORDER  OVER  THE  WORLD. 
Volterra.  S.  Girolamo.  Altarpiece.  H.,  2.32m.  ; W.,  1.90m.  Photo., 
Alinari,  8747. 

The  frame  of  this  altarpiece  (Fig.  15)  shows  so  many  correspondencies 
with  that  of  the  Last  Judgment  altarpiece  in  the  same  church  that  we  must 
assign  it  also  to  Giovanni  della  Robbia.  In  fact  the  garland  of  the  lunette 
is  composed  in  stricter  accord  with  that  on  the  lavabo  of  S.  Maria  Novella, 
and  the  decoration  of  the  pilasters  are  similar  enough  to  those  of  the  lavabo 
to  be  casts  from  the  same  moulds.  The  predella,  unbroken  except  for  the' 
projections  beneath  the  pilasters,  shows  figures  of  S.  Bernardino  of  Siena, 
S.  Girolamo,  the  Mater  Dolorosa,  Christ  in  the  Sepulchre,  S.  Giovanni, 
S.  Antonio  of  Padua,  and  S.  Jacopo  Maggiore,  in  strict  accord  with  Rob- 
bian  tradition. 


GIOVANNI  DELLA  ROBBIA  27 

The  central  relief,  which  appears  to  be  by  another  hand,  represents  S. 
Francesco,  standing  upon  the  inhabited  world,  extending  the  rule  of  his 
order  to  a sainted  king,  now  transformed  into  a monk,  with  a crown  at  his 
feet,  and  to  a sainted  nun,  with  roses  at  her  feet.  The  king  is  S.  Lodovico 


Fig.  15. — S.  Francesco  Spreads  his  Order.  Volterra,  S.  Girolamo. 

of  France,  who  died  in  the  cowl  and  cord  of  S.  Francis.  He  receives  a 
scroll  inscribed  ACCIPE  DISCIPLINA(M  ) P(AT)RIS  TVI.  The  nun, 
S.  Elisabetta  of  Hungary,  known  as  Mater  Pauperum,  was  like  a second 
S.  Chiara.  She  receives  a scroll  inscribed  PIEC  EST  VIA  SALVTIS  ET 
VITE. 

Overhead  fly  the  three  monastic  virtues,  wearing  polygonal  nimbuses, 


28 


GIOVANNI  DELLA  ROBBIA 


CASTITAS  bearing  a lily,  PAVP(ER)TAS  with  a palm  and  wreath,  and 
OBEDIE(N)TIA  with  a yoke. 

Bibl.  : 

Bertanx,  Étudcs,  89-90;  B.  J.,  93;  B.,  Kf.,  25;  C-M.,  258  No.  344; 
Cr.,  357;  R.,  D.  R.,  227,  235;  Se.  FI,  IV,  52,  54;  Vas.,  II,  196-197. 

j * • A Scolta  f ( <4  ^ ^ 

17  S.  MARTA  AND  ADORING  ANGELS.  Florence.  Museo  Nazi- 
onale, No.  60.  Lunette.  H.,  0.77m.  ; W.,  1.50m.  Photo.,  Brogi,  9476. 

This  lunette  (Fig.  16)  was  transferred  from  the  Convent  of  S.  Marta 
to  the  Museo  Nazionale  on  Nov.  30,  1882.  It  represents  S.  Marta  in  light 
yellow  habit  and  black  hood,  carrying  a blue  book  with  yellow  trimmings 


Fig.  16. — S.  Marta.  Florence,  Museo  Nazionale. 


and  holding  by  her  girdle  a very  leonine  dragon.  The  dragon  is  tamer 
than  that  which  Giovanni  represented  with  S.  Marta  at  the  Certosa.  The 
angels,  with  hands  folded  or  crossed,  clad  in  white  tunics  with  blue  sleeves 
and  yellow  collars,  have  wings  coloured  on  a different  principle  from  that 
used  by  Giovanni.  All  the  faces  are  coloured  to  imitate  flesh.  The  figures 
are  set  against  a light  blue  background  enclosed  by  garlands  of  continuous 
triplex  bunches  of  fruit  and  flowers  rising  from  the  base  and  meeting  at 
the  top. 

Bibl.  : 

Burk,  hi;  C-M.,  255  No.  322;  Cr.,  339;  Supino,  449  No.  60. 


GIOVANNI  DELLA  ROBBIA 


29 

18  S.  MARTA.  London,  Victoria  and  Albert  Museum.  No.  ic>90-’55. 
Statuette.  H.,  0.45m. 

The  saint  holds  a book,  violet  and  yellow.  At  her  feet  is  a dragon  swal- 
lowing a child. 

Bibl.  : 

Burl.,  120;  C.M.,  271  No.  416;  Robinson,  68  No.  1090. 

19  S.  LUCIA  ADORED  BY  ANGELS.  Darmstadt.  Grossherzogliches 
Museum.  Lunette.  H.,  0.43m.;  W.,  0.83m. 

This  lunette  is  attributed  to  Giovanni  della  Robbia  by  Dr.  Bach  and  by 
Miss  Cruttwell.  I have  been  unable  to  secure  a photograph  of  it.  Should 
it  resemble  the  S.  Lucia  at  the  Certosa,  it  may  well  be  by  Giovanni  ; but 
should  it  resemble  more  closely  the  lunette  of  S.  Lucia  between  two  angels 
at  S.  Lucia  dei  Magnoli,  Florence,  or  tbe  S.  Lucia  in  the  lunette  over  the 
entrance  of  the  Ognissanti,  or  the  S.  Lucia  in  the  church  at  Bolsena  it  is 
probably  a work  by  Santi  Buglioni. 

Bibl.  : 

Bach,  50;  Cr.,  337. 

20  STEMMA  OF  THE  SQUARCIALUPI  FAMILY.  New  York.  Col- 
lection of  Mr.  George  Blumenthal.  Medallion.  Diam.,  0.66m. 

Formerly  in  the  von  Lamia  Collection,  Prague. 

Within  a polychromatic  garland  of  fruit  and  dowers  (Fig.  17)  of  triplex 
composition  surrounded  by  a white  band  inscribed 

ARMA  + PATRONORVM  + DESOVARCIALVPIS+* 
is  a white  duted  disk  on  which  is  a kite  shaped  shield  containing  the  Squar- 
cialupi  arms:  Per  fess,  in  a chief  Or  a wolf  passant  azure,  in  base  gules  six 
plates,  3,  2 and  1. 

Bibl.  : 

C.,  s.v.  Squarcialupi;  von  Lamia  Sale  of  1909,  Cat.,  Voi.  II,  No.  575, 
Taf.  41. 

21  THIRTY-NINE  CASKS.  1507.  Florence.  S.  Maria  Nuova  (for- 
merly). 

The  annexed  documents  dated  August  20,  1 507  show  that  Valore  di 
Zanobi  Valore,  apothecary  to  the  hospital  of  S.  Maria  Nuova  possessed 


30 


GIOVANNI  DELLA  ROBBIA 


Fig.  17. — Squarcile  Stemma.  Blumenthal  Collection,  N.  Y.  C. 

three  dogli  or  large  jars  made  by  Giovanni  della  Robbia.  Bishop  Leonardo 
Buonafede  who  was  “spedalingo”  or  governor  of  the  hospital  then  ordered 
thirty-six  “dogli”  of  like  character,  glazed  outside  and  inside,  ornamented 
with  scale  pattern  or  with  such  design  as  the  Bishop  might  select.  They 
were  to  be  1 Id  bracchia  in  height,  to  cost  4 libre,  10  soldi  each,  and  to  be 
completed  by  the  end  of  October. 

The  first  document  (Fig.  18)  is  a notable  one  in  that  it  contains  Gio- 
vanni’s own  signature. 


1.  “Mdvij 

In  margine  : Mercato  chon  G‘  dalla  Robia 

Richordo  chome  oggi  questo  di  XX  dachosto  1507  Giovanni 
dandrea  di  marcho  dalla  Robbia  a tolto  a fare  da 
questo  spedale  et  per  lini  dall  nostro  reverendo  padre 
messer  leonardo  buonafe  al  presente  spedalincho  di 
questo  spedale  trentasei  dogli  di  tenuta  di  barili 
due  et  mezzo  In  circha  dalltezza  di  braccia  1 Vi  di  terra 
Invetriata  di  dretto  et  di  fuori  a schalandroni  Inve- 
triatj  et  di  diverse  maniere  le  pitture  di  detti  dogli 
chome  para  all  nostro  padre  spedalingo  et  nell  modo  et 
forma  che  na  dato  una  mostra  di  tre  dogli  che  Ili  a 
Vallore  et  debbono  essere  In  tutta  perfettione  si  di  qualità 


GIOVANNI  DELLA  ROBBIA 


3i 


si  di  tenuta  et  debba  avere  delluno  libre  quarto  e soldi  X 
piccioli  et  debbansi  avere  chonsegniati  finiti  per  tutto  eli 
mese  dottobre  prossimo  avenire  Et  In  chaxo  che  all  detto 
tempo  nolli  avessi  fatti  et  chonsegniati  (then  four  words  written 
and  cancelled) 


o 


V 


A 


reo  o-rv—  <?  oTi  g/  <70  7*  V e*-rc* j\'  y * 7 £ Tq  9) 

<2  nm  /V»*  ct*  ‘d+Si'r-—  c^-  O . (/' d**  J-  — - 9 a cy  *-C <•  C1  *"“* 

v G'a»\  9 ^7  f7^  °72 * *'  i — 'Vo  noavrSv  ( ri  a "àt-  ^ yvfvtr-  Ar~~ 

A { v , v l b ‘ ^ y Jr  ) 

T”"*'  ^ . T Oq  9 rt-v  «71  ■ £ iè  • V Mr<~ 


•A — e A1'!  <y~  $ t*b 


n 


♦ 7<r?  ivv^; 


C i~j  £r\  t\  0*^0  /Tr\ 


<*\  f-v<  Art 


ft-.s  • 

« fjx  ^ , • , 0 / 

^.«Avy4—  c^n /«  vi  np-Or-jbcAt-mv — 6 V«Mti  nr«w-y — 

.,>0  -rw  Ac  • it-  -rnx-O  oy  trh’vrmr — r£ir-  n>-'  9n 

f-<rr  'mcAv — 1>  -of-vv-  Peer,  rtrtCir-'  VAf'n—  v-  XQTo^ 

G ^«-Gtv  - ^ StCCr— 

/ 


, y , j*  t*y  y A «t-u>  nv--(  V G y m 

AA—  9 v(i  M '/w  M-  G"N  *rr*  7f  ■ t-  PvfcG  JVv 

I it  <y‘^tc  rf~  A?  Cv  <rm  w(?f  ^yjf.  rft 

nrtJt-Cvrt'm  J-&-2****"  e ^ <^A-  rc<J 

*-{-*• t! l>  ■ rCv-  f C"'  f>*  <'?'/'■■'  c Avn  • /nn — • c/  cf^  /VY j} 

Cr-A  -'Sv'/Aw/vt,.  T 4 rrtVvvr-y.^^ 

r-\- ^ rr/i^  ■ ttr~  uit’y/lt . &/*£/ — yfbcr  -n3  v syit—  ). 

OV-..  t • • • - < o',n  ) ,,  vie  | 

^ *"C  r “ r * ^ ‘ Il  - Ai>  -S'  M • |'’rr  c4^  „f  | 

O-  ^ , c.  W .:  . ^ , r-  y uw^cr-  p z^oY>u-~  j __ 

'V-Vr'-TNrD  •)  Ite-'  tT>  f 1 O i , _ - J 


Fig.  i8. — Document  with  Giovanni  s Signature. 


allora  vvuole  et  de  chontento 

che  noi  gli  possiamo  far  fare  a ongni  sua  spesa  et  a 
fede  dellavoro  si  socriverra  essere  chontento  et  obrighato 
a quanto  di  sopra  si  chontiene 

Io  govannj  dandrea  dimarcho  dellarobia  sono  chontéto 
obrigomj  a quàto  disopra  e detto  et  a fede 
del  vero  misono  sochritto  dimia  propia  mano 
questo  dj  detto  disopra  . . .” 

[Archiv.  di  Sa  Maria  Nuova,  Ricordi  A (1505-1519)  a.  c.  31.] 


2.  “ + MDVII 

Venerdi  adi  20  dogosto 

A giovanili  dandrea  di  marcilo  della  robbia  f dua 


32 


GIOVANNI  DELLA  ROBBIA 


li  dò  ì ò p(or)to  lui  d°  chontanti  p(er)  conto  di  vasi 

ci  fa  p(er)lla  spezeria  al(li)b(r)o  g"  (giornale)  b 198  f 2 1- 

[ Archivio  dell’Arcispedale  di  Santa  Maria  Nuova,  Uscita  B 1506-1508 
a c.  79t.] 

3.  " + MDVII 

Mercholedi  adi  io  dinovenbre 
A giovanili  dandrea  di  marcilo  della  robbia  f quatro 

li  dò  I ò p(or)to  lui  d"  Al  g,e  b c 198  f 4 1 . . 

[Idem,  a c.  ioot.] 

4.  “ -j-  Mdvij 

Giovanni  dandrea  di  marcho  della  Robbia  de  dare  adi 
XX  dachosto  1507  f dua  larghi  doro  i oro  p(or)to  e detto 
chontanti  p(er)  chonto  di  Vasi  26  a fate  p(er)  Ila  nostra 
spetieria  a u(  scita  )b  79 

E de  dare  adi  X di  novebre  1507  f quatro  larghi 
doro  jnoro  p(or)to  chontanti  a u b 100  - 
Anne  dato  f sej  larghi  doro  jnoro  p(er)  tanti 
debba  dare  all  g (giornale)  C - - 109 

[Archiv.  idem,  Giornale  B 1506-1508  a c.  198.] 

5.  “ + Mdviij 

Giovanni  dandrea  dimarcho  dalla  Robbia  de  dare  f sej 
larghi  doro  inoro  p(er)  tanti  abbia  dato  all  ge  b 198  sono 
p(er)  chonto  di  vasi  26  a fate  p(er)  Ila  nostra  spetieria  chome 

apare  alle  Rc  (Richordanze)  a c.  31 f - 1 42  s - 

E de  dare  adi  vj  di  gg°  (giugno)  1509  f 1 tre  piccioli 

p(er)  lluj  a giovanili  di  tubio  dasanta  ma  jnp(r)uneta 

p(or)to  e detto  chontanti  a ua  sto  c - 88  f - 1 3 s 

E de  dare  adi  xij  di  settebre  1 una  s viii  piccioli 

p(er)  lini  a simone  di  pasquino  sono  p(er)  valutta  duna 

chatasta  di  lengna  di  toppi  se  gli  màdoròno  a 

chasa  a u”  sto  c 1 1 7 f - 1 1 s 8- 

E de  dare  adi  detto  1 xiiij  sono  p(er)  Ila  valluta 
duna  chatasta  di  toppi  auti  danoj  j usino  adj 

III  di  settebre  jn  q°  122  ....  f - 1 14  s . 

E de  dare  adi  xxvj  di  novenbre  1 xiiij  p(er) 

Ila  valluta  di  una  chatasta  di  toppi 

auti  danoj  chome  apare  i q°  144  f-1  14  s. 

E de  dare  adi  xx  di  djcenbre  1 dodjci  s x 

piccioli  p(or)to  e detto  chontanti  a u°  c 141  f - 1 12  s io.  . 1.8.18. 

E de  dare  adi  vj  di  Marzo  f uno  largho  doro 
ì oro  chontanti  a u"  c 150. 


f ■ — 1 14 
f — 1 28 
f — 1 42 


f - 1 7 s 


GIOVANNI  DELLA  ROBBIA 


33 


E de  dare  adi  xx  dap(r)ile  1510  f uno  largho  doro 
ì oro  sono  p(er)  Ila  valluta  duna  mezza  chatasta 

di  lengna  grossa  auta  danoj  i q°  1 79  f - 1 7 s 

Anne  dato  1 vèti  s xviii  piccioli  p(er)  tanti 
dare  ì q°  226  1 100  18 

[Idem,  a c.  209t.] 

6.  “ + MDVIIir 

Mercholed  j adi  6 di  gugnio 
A giovanili  dandrea  di  pagolo  (sic)  della  robbia  1 tre 
p ( iccio)  li  p(er)  lui  a giovanni  di  tobbio  da  santa  maria 
ìpruneta  p(or)to  lui  detto  contanti  a 1 ( 1 i ) b ( r ) o gle  s(egnato)  c.  .209  f. .. 

1 3-  • 

| Archivio  idem,  Uscita  C 1508-1510  a c.  88.] 

7.  “ — |— xpo  Mdviiij” 

Martedj  addj  ii  dj  settenbre 
A góvanni  dandrea  della  robia  1 una  s viij” 
p(er)  luj  a simone  di  paschuino  ghallj  sono  p(er) 
vettura  duna  chatasta  di  legne  di  toppi 

p(ort)o  a chasa  ilsop(r ) adetto  giovanili  al(li)br(o)  gc  st0  C a 209  f.  .1  1 
s 8. 

[Idem  a c.  1 17b] 

8.  “ yhs  Mdvini" 

góvedj  addj  xx  dj  djcenbre 
A govannj  dandrea  della  robbia  1 xii  s io 

p ( iccio ) li  p(or)to  luj  detto  chontantj  al(li)b(r)o  gornale  ste  C...209 
f . . .1  12  S IO.  . 

[Idem,  a c.  1 4 1 1. ] 

9.  “ Mdx 

Meo  cliastj  vetturale  avvochato  da  monte  migniano.  . . . 

E de  avere  adi  detto  (xviiij  dap(r)ile)  1 tre  s x piccioli 
sono  p(er)  Ila  valuta  duna  mezza  chatasta  di  lengna 
p(or)to  a giovanni  dandrea  della  Robbia  delie  avere 

di  chont0  13  io 

E de  avere  adi  detto  f uno  largho  doro  ì oro 
sono  p(er)  Ila  valutta  duna  chatasta  di  lengna 
p(or)to  nella  chorte  p(er)  llospetiale  levati  da  mòte 

migniano  ....  1 7 

[Archiv.  idem,  Giornale  C 1508-1510  a c.  178b] 

10.  “Mdx 

Giovanni  dandrea  dalla  Robbia  de  dare  adi  xx 


34 


GIOVANNI  DELLA  ROBBIA 


dap(r)ile  1510  f uno  largho  doro  loro  sono  p(er)  Ila 
valluta  duna  mezza  chatasta  di  lengna  grossa 
anta  danoj  et  p(or)to  Meo  di  Jacopo  chasantj  di 
chont0  .... 

anne  dato  p(er)  tanti  debba  dare  I q°  ...  .209 
[Idem,  a c.  179.] 

li.  “Mdx 

Giovanni  dandrea  della  Robbia  de  dare  adi  xx 
dap(r)ile  1510  1 cento  s xviii  pii  (piccioli)  sono  p(er) 
tanti  abbia  dati  ì q°  209  p(er)  chonto  di  vasi 

fa  alla  nostra  spetieria 

E de  dare  adi  detto  f quatro  doro  I oro 
auti  p(er)  noj  dalla  spetieria  jnsino  adi  xviiij  di 
maggio  1509  allo  quad"  s'°  b . . . . 77 
E de  dare  adj  detto  f dua  larghi  doro  i oro 
p(er)  noj  dalla  detta  spetieria  isino  adi  iiij 
febraio  1509  all(ibro)  q°  st0  b.  .77 
Anne  dato  adj  xxii  di  maggio  1510  f undjci 
larghi  doro  ì oro  p(er)  lini  dalla  spetieria  di 
nostro  spedale  dare  al(li)b(r)o  v(er)de  sto  c 
c 288  sono  p(er)  Ila  valluta  di  xj  vasi 
jnvetriati  autj  dalluj  et  fatti  dachordo  chon 
vallore  nostro  detto  dj  chonputatj  et  fessi  et 
salldi 

Anne  dato  1 sesanta  cinque  s xviij  p ( iccio ) li 
tanti  debba  dare  all  ge  s‘°  d 245  p(er)  Resto 
di  suo  chonto 


1 7 
1 7 


f . . 1 100  s 18 . . 


f . . 1 28 


f . .1  14  s 


142  . 18 


1 77 


f .I65 


142 


18 
18  . 


[Idem,  a c.  226 1.] 


12.  “ MDXJ 

Giovanni  dandrea  della  Robbia  de  dare  adi  XVII  di 
L°  1 sesantacinque  s XVIII  p( iccio) li  p(er)  tanti  abbia  dato 
all  g”  C 226  che  di  tanti  fu  sop(rap)aghato  p ( er ) li  chonto 

dell!  vasj  a fatti  alla  spetieria f . . 1 65.  18  . 

che  e pagliato  di  xj  (di)  26  (vasj)  fattj  a 1 7 Inno 
dachordo  

Anne  dato  1 lxv  s xviii  p ( iccio ) li  tanti  dare  all  gc  e c 381  f . 1 65  18.” 
[ Archi v.  idem,  Giornale  D 1511-1513  a c.  245t] 


Bibl.  : 

Bacci,  III.  Fior.,  1908,  140-144  (Doc.)  ; R.  G.  M„  L’Arte,  XXI,  (1918), 
202-203  (Doc.) 


GIOVANNI  DELLA  ROBBIA 


35 


22  TWO  BLUE  VASES  WITH  BUNCHES  OF  FRUIT.  New  York 
City.  Collection  of  Mr.  John  T.  Pratt.  H.,  0.45m.  Photo.,  Private. 
Formerly  in  the  collection  of  Mrs.  Philip  M.  Lydig. 

Two  blue  vases  with  dolphin  handles,  similarly  decorated  lip  with  leaf 
pattern,  neck  with  scales,  upper  body  with  a deep  set  frieze  capped  with 
egg  and  dart  moulding  and  showing  the  three  pattern  interlacing,  lower 
body  with  godrons,  base  with  pearl  and  rope  mouldings  (Fig.  19).  This 


Fig.  19. — Blue  Vase.  Lydig  Collection. 


GIOVANNI  DELLA  ROBBIA 


36 

three  pattern  interlacing  occurs  on  the  border  of  the  cope  of  S.  Zanobi 
in  Andrea  della  Robbia’s  lunette  of  1496  in  the  Opera  del  Duomo.  At 
the  same  date  the  interlacing  motive  was  used  by  Perugino  and  a little  later 
by  Raphael,  Leonardo  da  Vinci  and  others. 

The  bunches  of  fruit  and  flowers  and  small  animals  were  intended  to  be 
set  in  the  vases  and  serve  as  permanent  ecclesiastical  or  household  deco- 
rations. Giovanni  della  Robbia  frequently  used  dolphin  handled  vases  as 
the  starting  point  of  his  garland  frames. 

Bibl.  : 

Cat.  of  Rita  Lydig  Collection,  No.  36;  M.,  D.  R.  A.,  127-128,  Fig.  54. 

23  TWO  BLUE  VASES  WITH  BUNCHES  OF  FRUIT.  London. 
British  Museum. 

The  British  Museum  possesses  two  blue  glazed  Robbia  vases,  dolphin 
handled  (repaired),  with  scale  pattern  on  neck,  central  frieze  of  interlac- 
ing pattern,  godrons  on  base  of  body.  Two  bouquets  of  fruit,  polychro- 
matic, are  associated  with  these  vases. 

Similar  to  the  Lydig  vases. 

24  BLUE  VASE.  New  York.  Metropolitan  Museum  of  Art. 

Blue  vase  with  dolphin  handles,  decorated  on  the  lip  with  leaf  pattern, 
on  neck  with  scales,  on  upper  body  with  three  pattern  interlacings  and 
lower  body  with  godrons.  Base  with  pearl  and  rope  mouldings.  Similar 
to  the  Lydig  vases. 

25  TWO  BLUE  DOLPHIN  HANDLED  VASES  WITH  BOUQUETS 
OF  FRUIT.  New  York  City.  Bardini  Sale  of  April  1918. 

(1)  Light  blue.  Neck,  scale  pattern  (?),  body  with  deep  set  frieze  of 
three  pattern  interlacings,  base  with  godrons.  Contains  bouquets  of  fruit. 

(2)  Darker  blue.  Similar  to  the  Lydig  vases. 

Bibl.  : 

Bardini  Sale  of  1918,  Cat.  Nos.  284,  285. 

26  TWO  BLUE  VASES  AND  FRUIT.  Paris.  Collection  of  Mr. 
Maurice  Kann  (formerly),  No.  201.  H.,  0.45m. 


In  the  collection  of  Mr.  Maurice  Kann,  sold  in  1910,  are  catalogued  two 


GIOVANNI  DELLA  ROBBIA  37 

vases  and  two  bouquets  of  fruit.  The  decorations  tally  exactly  with  the 
pair  of  vases  formerly  in  the  Lydig  Collection,  New  York. 

Bibl.  : 

Cat.  Collection  Maurice  Kann,  No.  204. 

27  BLUE  VASE.  Sèvres.  Musée  ceramique. 

Blue  vase  with  dolphin  handles.  Similar  in  decoration  to  the  Lydig  vases. 

28  BLUE  VASE.  Paris.  Musée  de  Louvre.  Salle  de  Trocadéro. 

In  the  Salle  de  Trocadéro  of  the  Louvre  is  a Robbia  blue  vase,  acquired 
with  the  Donation  Sauvageot,  1856.  It  has  dolphin  handles  and  is  deco- 
rated on  the  neck  with  godrons,  on  the  upper  body  with  three  patterned 
interlacings,  and  below  with  scale  pattern.  Base  plain. 

Bibl.  : 

Lortnum,  Maiolica,  123;  Michel,  III,  833,  Lig.  485. 

29  TWO  BLUE  VASES.  Oxford.  Ashmolean  Museum. 

(1)  Blue  vase  with  dolphin  handles,  decorated  with  godrons,  three  pat- 
tern interlacings  and  scales.  Similar  to  the  Sauvageot  vase  in  the  Louvre. 
H.,  0.28m. 

(2)  Blue  vase  with  dolphin  handles,  decorated  with  scales,  three  pattern 
interlacings,  and  godrons.  Similar  to  the  Lydig  vases.  Cf.  also  Cantagalli, 

No.  376.  H.,  0.28m. 

\ 

Bibl.  : 

Fortnum,  Maiolica,  123;  Michel,  III,  833,  Fig.  485. 

30  TWO  BLUE  VASES.  Florence.  Bardini  Collection  (1899),  Nos. 
1 14,  1 18. 

In  1899  Bardini  published  a Sale  Catalogue  in  which  were  figured  two 
blue  dolphin  handled  vases  similarly  decorated  on  the  neck  with  scale  pat- 
tern, on  the  body  with  a frieze  of  interlacings  forming  two  patterns,  at- 
tached by  loops  to  horizontal  strings  above  and  below,  in  the  lower  body 
by  flat  godrons.  The  bases  contain  no  moulded  decoration. 

Bibl.  : 

Bardini  Cat.  of  1899,  Nos.  114,  118;  Bardini,  Cat.  of  1918,  Nos.  284, 
285  are  different. 


38  GIOVANNI  DELLA  ROBBIA 

31  BLUE  VASE.  H.,  0.27m.  Berlin.  Kunstgewerbe  Museum. 


Blue  vase  with  dolphin  handles,  decorated  with  scale  pattern,  interlacings 
and  godrons. 

Similar  to  the  Bardini  vases  published  in  1899. 

Bibl.  : 

Bardini  Cat.  of  1899,  Nos.  114-118;  C-M.,  263  No.  367;,  von  Falke,  77. 

32  BLUE  VASE  AND  FRUIT.  Braunschweig.  Collection  of  Frau 
Vieweg. 

Dolphin  handled  blue  vase,  with  scale  pattern  on  neck,  frieze  of  inter- 
lacing, lower  body  of  godrons,  base  channelled. 

In  type  not  unlike  the  Bardini  vases  of  1899,  Nos.  114,  118.  With  the 
vase  is  a bouquet  of  polychromatic  fruit. 

33  FIVE  BLUE  VASES.  Paris.  Collection  of  Baron  Achille  Seillière 
( 1890),  No.  18-20. 

(1)  Blue  vase  with  dolphin  handles,  neck  decorated  with  scales,  upper 
body  with  upper  frieze  of  rectilinear  maeander  and  lower  frieze  with  pal- 
mettes  alternately  up  and  down,  lower  body  with  godrons.  H.,  0.26m. 

(2)  Similar  to  (1). 

(3)  Analogous  to  (1)  and  (2).  H.,  0.26m. 

(4)  Analogous  to  (1)  and  (2). 

(5)  Similar  to  preceding.  H.,  0.28m. 

Bibl.  : 

Cat.  Coll.  Seillière,  Nos.  18-20. 

34  THREE  BLUE  VASES.  Paris.  Collection  M.  Émile  Gavet  (1897), 
Nos.  201-203. 

In  the  collection  of  M.  Émile  Gavet  sold  in  1897  were  three  Robbia  vases. 
( 1 ) Blue  vase  with  dolphin  handles,  neck  ornamented  with  scales,  upper 
body  with  a frieze  of  three  pattern  interlacings,  lower  body  with  godrons, 
base  with  rope  and  other  mouldings.  Similar  to  the  Lydig  vases.  H.,  0.27m. 

(2)  Blue  vase  with  dolphin  handles,  neck  ornamented  with  scales,  up- 
per body  with  upper  frieze  with  rectilinear  maeander  and  lower  frieze  with 
palmettes  alternately  upright  and  falling,  lower  body  with  godrons.  H., 
0.28m. 


GIOVANNI  DELLA  ROBBIA 


39 


(3)  Similar  to  (2).  The  vases  (2)  and  (3)  correspond  to  the  descrip- 
tion of  the  Seillière  vases  sold  in  1890. 

Bibl.  : 

Cat.  Collection  Émile  Gavet,  Nos.  201-203.  Molinier,  Collection 

Émile  Gavet,  Nos.  455,  456. 

35  ONE  WHITE  AND  FOUR  BLUE  VASES.  London.  Victoria  and 

Albert  Museum,  Nos.  2534-’5Ó,  48i-’Ó4,  197-B9,  41-91,  642-97. 

Photo.,  Private. 

The  Victoria  and  Albert  Museum  possesses  five  Robbia  vases,  one  is 
glazed  white,  the  rest  blue. 

1.  No.  4i-’9i  white  glazed  vase  with  dolphin  handles,  the  lip  decorated 
with  bead  and  reel,  neck  with  scale  ornament,  upper  body  with  double  rec- 
tilinear maeander,  lower  body  with  garlands  upheld  by  lion  heads  and  sur- 
rounded by  cherub  heads,  lowest  part  of  body  with  highly  plastic  godrons, 
base  with  rope  and  pearl  ornament.  H.,  0.40m.  Similar  to  Cantagalli 
No.  377. 

2.  No.  2534-’56.  Dark  blue  glazed  vase,  with  dolphin  handles,  neck 
decorated  with  scale  ornament,  upper  body  capped  by  egg  and  dart  with 
frieze  of  three  pattern  interlacings,  lower  body  with  godrons,  base  with 
pearl  and  rope  mouldings.  H.,  0.31m.  Similar  to  Lydig  vases.  Cf.  Can- 
tagalli, No.  376. 

3.  No.  481 -’64.  Gray  blue  vase  with  dolphin  handles,  decorated  as  the 
preceding.  Base  repaired,  H.,  0.28m. 

4.  No.  i97-’89.  Blue  glazed  vase,  with  dolphin  handles,  neck  decorated 
with  scales,  upper  body  with  guilloche,  lower  body  with  godrons,  base  with 
pearl  and  rope  mouldings.  H.,  0.28m. 

5.  No.  Ó42-’97.  Similar  to  preceding,  but  darker  blue,  with  gilding  well 
preserved.  H.,  0.28m. 

Bibl.  : 

Guasti,  Cafaggiolo,  162-163;  Solon,  It.  Maiolica,  Fig.  5;  Wallis,  I tal. 

Ceramic  Art,  XXI-XXII.  " 

36  VASES — TWO  TYPES.  Florence.  Cantagalli  Manifattura,  Nos. 
376,  377- 

The  Cantagalli  manufactory  reproduces  two  types  of  Robbia  vases. 


40 


GIOVANNI  DELLA  ROBBIA 


No.  376.  Dolphin  handles,  scale  pattern  on  neck,  deep  frieze  with  com- 
plicated interlacings,  lower  body  with  godrons,  base  with  rope  moulding. 
No.  377.  Dolphin  handles,  lip  ornamented  with  bead  and  reel  moulding, 
neck  with  scale  pattern,  frieze  with  double  rectilinear  maeander,  body  with 
a garland  upheld  by  lion  heads  accompanied  by  cherub  heads,  lower  body 
with  highly  plastic  godrons,  base  with  rope  and  pearl  moulding. 

Bibl.  : 

Cat.  of  Cantagalli  Co.,  Nos.  376.  377. 

37  STEMMA  OF  GIOVANNI  DI  LAPO  NICCOLINI.  1509.  San 
Giovanni  in  Valdarno,  Palazzo  Pretorio.  Photo.,  Alinari,  No.  9845. 


Within  a wreath  of  continuous  bunches  of  fruit  and  flowers  of  partially 
triplex  composition,  surrounded  by  an  egg  and  dart  moulding  and  set  against 
a flat  plate  is  a Tuscan  shield  (Fig.  20)  bearing  the  Niccolini  arms  : Azure, 
a lion  rampant,  guardant,  argent,  debruised  of  a bend  gules;  in  chief,  a 


Fig.  20. — Stemma  of  Giovanni  Niccolini. 


GIOVANNI  DELLA  ROBBIA 


4i 

label  of  four  points  gules  enclosing  two  fleurs-de-lys  or  and  in  the  centre  a 
papal  tiara  and  two  keys  crossed  in  saltire  or. 

Below,  on  a curved  scroll  upheld  by  two  hands  is  : 

G(I)OVANNI  y DI 

LAPO  7 NICHO 

LINI  7 VIC(ARI)0  y MDVIII 

E y MDVIIII 

Giovanni  di  Lapo  di  Giovanni  Niccolini  was  a Prior  in  Florence  in  1504 
and  1514. 

Bibl.  : 

C.,  s.v.  Niccolini;  M„  R.  H.,  176-177;  P.,  435-437;  W.,  58. 


I 


1510-1520 


V 


1510— 1520 


38  THE  RESURRECTION.  1510.  Florence.  Museo  Nazionale,  No. 

51.  Rectangular.  H.,  1.22m.;  W.,  0.94m.  Photo.,  Alinari,  2778; 

Brogi,  9484. 

From  the  suppressed  monastery  of  Monte  Oliveto,  Florence,  this  relief 
(Fig.  21)  came  to  the  museum  June  27,  1867,  The  cornice  is  of  wood,  but 
the  remainder  is  well  preserved,  except  a few  details. 

The  Verrocchian  Christ  is  characteristic  of  Giovanni  della  Robbia,  re- 
minding us  of  the  risen  Christ  on  the  orphry  of  the  cope  of  S.  Lino  at 
Volterra.  Characteristic  also  is  the  mustard  yellow  used  to  colour  the 
image  of  Sol,  the  radiance  about  the  Dove,  and  all  the  haloes.  The  back- 
ground is  a light  blue,  and  the  face  of  the  sarcophagus  a crude  violet.  There 
are  no  sleeping  soldiers  about  the  sepulchre,  on  which  are  seated  two  angels 


Fig.  21. — The  Resurrection.  Florence,  Museo  Nazionale. 


s ' n 


GIOVANNI  DELLA  ROBBIA 


46 

raising  the  slab  on  to  which  Christ  appears  to  have  descended  from  the 
skies.  Not  the  fact  of  the  Resurrection,  but  the  Vision  of  the  Risen  Christ, 
in  the  presence  of  the  Holy  Dove  and  of  Sol  and  Luna.  A large  cherub 
head  appears  in  front  of  the  sarcophagus  with  scroll  inscribed  : 

y SEPVLCHRVM  J CHRISTI  J VIVENTIS  > ET  GLORIAM 
J VIDI  y RESVRGENTIS  ■ 

The  pilasters,  decorated  with  candelabra  involving  characteristically  Gio- 
vanni motives,  are  terminated  with  capitals  also  in  his  style.  The  pilaster 
to  the  right  is  inscribed  : 

A(NNO)  • DO  (MINI)  • S(ALVATORIS)  • MDX 

Bibl.  : 

Burl.,  no;  C-M.,  216  No.  65;  Cr.,  339;  Supino,  Cat.,  No.  51. 

39  S.  LINO.  Volterra.  Duomo.  Bust.  H.,  0.90m.  Photos.,  Alinari, 
8721;  Lombardi,  2603. 


« 


Fig.  22. — S.  Lino.  Volterra,  Duomo. 


GIOVANNI  DELLA  ROBBIA 


47 

Over  the  side  door  of  the  cathedral  at  Volterra  is  a bust  (Lig.  22)  in- 
scribed on  the  base 

•B-  LINO-  VOLATERRANO-  PETRI  SVCCESSOR- 
Linus  of  Volterra,  the  first  Bishop  of  Rome,  was  made  Pope  about  67 
A.D.  This  bust  is  strong  and  portrait  like,  but  does  not  merit  the  praise 
given  it  by  Miss  Cruttwell. 

Clad  in  an  alb  with  broad  blue  apparel,  S.  Lino  wears  a heavy  cope  of 
blue  lined  green  with  a broad  orphry  on  which  are  relief  figures  in  white 
against  violet,  of  prophets  bearing  scrolls,  the  Madonna,  prophetesses,  and 
the  risen  Christ  blessing  with  right  hand  and  carrying  a banner  in  his  left. 
(Cf.  the  Resurrection  relief  Museo  Nazionale  No.  51).  S.  Lino  wears 
the  Papal  triple  crowned  tiara  and  holds  a green  book. 

Bibl.  : 

Cr.,  198-199;  327;  Ricci,  Volterra,  118. 

40  THE  ASCENSION.  Llorence.  Museo  Nazionale,  No.  45.  Rectan- 
gular. H.,  1.40m.;  W.,  1.10m.  Photo.,  Brogi,  9490. 

Prom  the  monastery  of  S.  Vivaldo,  transferred  in  1874  (Lig.  23).  Simi- 


Fig.  23. — The  Ascension.  Florence,  Museo  Nazionale. 


GIOVANNI  DELLA  ROBBIA 


48 

lar  in  type  to  the  Resurrection  from  Monte  Olivete  (1510).  Apparently 
by  the  same  assistants  of  Giovanni  della  Robbia  who  were  engaged  on  the 
larger  altarpiece  of  the  Ascension  at  S.  Vivaldo.  Somewhat  restored  and 
overpainted. 

Bibl.  : 

Burl.,  no;  C-M.,  218  No.  80,  237  No.  201;  Cr.,  338;  Supino,  446 
No.  45. 


41  STEMMA  OF  GIOVANNI  GAETANI  AND  ALESSANDRA 
MINERBETTI.  Florence,  Museo  Nazionale,  No.  43.  Photo., 
Brogi,  9482. 

From  Montaione,  formerly  in  the  refectory  of  the  suppressed  monastery 
of  S.  Vivaldo. 

In  a wreath,  composed  chiefly  of  triplex,  continuous  groups  of  fruit  and 
flowers  separated  into  quadrants  by  fluted  yellow  ribbons  crossing  each 
other,  with  an  inner  egg  and  dart  moulding  framing  a blue  fluted  disk  is  a 
Tuscan  shield  (Fig.  24)  bearing  the  combined  Gaetani  and  Minerbetti 


Fig.  24. — Stemma  of  the  Gaetani  and  Minerbetti. 
Florence,  Museo  Nazionale. 


arms.  The  dexter  arms  are  those  of  the  Gaetani  family  : Per  pale,  dexter, 
quarterly  argent  and  gules,  sinister,  paly  or  and  gules.  The  sinister  arms 
are  those  of  the  Minerbetti  family:  gules,  three  swords  in  pale  fanwise 
argent,  in  chief  a crosslet  of  the  same. 


GIOVANNI  DELLA  ROBBIA 


49 


This  stemma  commemorates  the  marriage  of  Giovanni  di  Piero  di  Gio- 
vanni Gaetani  with  Alessandra  di  Ruggero  di  Tommaso  Minerbetti  in  1493. 
Both  families  were  interested  in  S.  Vivaldo.  Bartolommeo  di  Ruggero 
Minerbetti,  brother  of  Alessandra,  was  Podestà  at  Montaione  in  1490,  and 
Oddo  Gaetani  presented  a fine  entrance  door  to  the  church  of  the  monastery 

in  1525- 

A similar  stemma,  formerly  in  the  Lrescobaldi  and  in  the  J.  P.  Morgan 
collection,  was  sold  in  1916  to  the  Duveer  Brothers,  New  York. 

Document  : 

“ A 144  1493 

Ioh(ann)es  ohm  Pieri  Ioh(ann)is  de  Gaetanis 
Alex”  Ruggeri  Tornasi  de  Minerbettis 

[Bibl.  Nazionale,  Zibaldone  del  Migliore,  segnato  Magliab.  Cl.  xxvi,  cod. 
142,  c.  46.] 


Bibl.  : 

C.  s.v.  Gaetani,  Minerbetti;  C-M.,  237  No.  200;  C.,  338;  M.,  R.  H., 
183-184;  P.,  72-74;  Supino,  446  No.  43;  W.,  155. 

42  THE  LILE  OF  S.  GIOVANNI  BATTISTA.  1511.  Cerreto 
Guidi,  S.  Leonardo.  Font.  Photos.,  Alinari,  10106-101 13. 

This  font  (Fig.  25),  hexagonal  in  form,  designed  doubtless  for  this 
church,  as  a gift  from  a member  of  the  Rucellai  family,  was  for  a long 
time  in  the  garden  of  the  Casa  Maggi,  formerly  Orsini,  at  Cerreto  Guidi. 
It  was  transported  back  to  the  church  in  sections  and  most  carelessly  re- 
constructed. Being  pictorial  and  elaborate  and  comparatively  inexpensive, 
repetitions  or  copies  of  this  font  were  made  for  churches  at  Galatrona, 
S.  Piero  a Sieve  and  S.  Donato  in  Poggio. 

The  base  has  a series  of  offsets  in  place  of  the  six  angles  of  a regular 
hexagon.  These  and  the  intervening  spaces  receive  a form  of  decoration 
new  to  the  Robbia  school — leafy  Sirens  alternating  with  palmettes.  The 
main  body  of  the  font  consists  of  six  pictorial  reliefs,  set  between  pilasters 
decorated  with  grotteschi  of  two  patterns,  each  used  thrice.  Those  adorned 
with  cornucopias  have  also  tablets  inscribed  A(nno)  N(ostri)  S(alvator- 
is)  M • D ■ XI.  Their  capitals  are  quite  similar  to  those  of  the  lavabo  at 
S.  Maria  Novella.  The  entablature  is  broken  at  the  angles,  where  are  set 
broad  shields  with  apices  bent  forward,  bearing  the  Rucellai  family  arms  : 
Per  bend,  in  a chief  gules  a lion  passant  argent,  a base  barry  indented  azure 
and  or.  The  individual  donor  was  possibly  Antonio  di  Giovanni  Rucellai 
who  was  Podestà  at  Pistoia  in  1508.  The  frieze  shows  cherub  heads  bear- 


50 


GIOVANNI  DELLA  ROBBIA 


ing  garlands,  between  them  are  space  filling  rosettes.  The  mouldings  are 
richly  decorated.  The  reliefs,  with  figures  in  white  against  polychromatic 
backgrounds,  are  as  follows  : 

1.  The  Annunciation  to  Zacharias  (Luke  I,  5-23).  The  aged  Zacharias 
is  in  the  temple  burning  incense  when  the  angel  Gabriel  appears  to  him 
and  predicts  the  birth  of  a son.  The  angel  is  of  the  Verrocchian  type  to 
which  Giovanni  della  Robbia  clings  for  years  to  come  ; the  golden  table  be- 
trays the  same  influence;  but  the  scroll  bearing  angels  in  the  spandrels  are 
rather  Donatellesque.  The  violet  brown  pavement  and  the  yellow  globules 
(stars!)  in  the  blue  semi-dome  show  Giovanni’s  indifference  to  the  refine- 
ments of  colour  and  form  hitherto  traditional  in  the  Robbia  school.  The 
composition  of  this  panel,  as  of  several  others  in  the  series,  seems  to  have 
been  influenced  by  Ghirlandaio’s  frescoes  in  the  tribune  of  S.  Maria  Novella. 

2.  The  Naming  of  the  Child  (Luke  I,  59-63).  On  the  eighth  day  the 
“neighbors  and  cousins”  came  for  the  circumcision,  and  insisted  on  naming 
the  child  Zacharias.  But  the  aged  priest,  who  had  been  struck  dumb,  asked 


GIOVANNI  DELLA  ROBBIA 


51 


for  a writing  tablet  and  wrote  “His  name  is  John.”  Zacharias,  with  his 
right  leg  resting  on  his  left  is  surrounded  by  his  friends  one  of  whom  car- 
ries the  child  wrapped  in  swaddling  clothes.  The  scene  takes  place  in  the 
Golden  Porch  of  the  Temple  with  light  blue  sky  and  lightly  sketched  trees 
in  the  background.  Above  on  a white  frieze  is  inscribed  IOHANNES  EST 
NOMEN  EIVS. 

3.  The  Birth  of  John  the  Baptist  (Luke  I,  57,  68-79).  This  scene  his- 
torically should  have  preceded  the  scene  of  the  Naming  of  the  Child,  and 
may  have  originally  been  so  placed.  If  we  follow  the  inscriptions  only  we 
should  call  this  the  Benedictus  and  consider  it  in  its  proper  order.  But  in 
spite  of  the  inscription  BENEDICT  VS  DOMINVS  DEVS  ISRAEL 
QVIA  VISITAVI (T),  we  have  here  no  figure  of  Zacharias  chanting  his 
gratitude  but  the  traditional  birth  scene.  Elizabeth  is  in  bed  covered  with 
a violet  brown  blanket  ; her  maid  brings  provisions  ; the  midwives  prepare 
to  wash  the  child  while  a neighbor  brings  a basket  of  fruit.  We  note  in  the 
background  the  gray  blue  curtain  decorated  with  lilies  and  on  the  mantel- 
piece blue  vases  bearing  flowers.  The  composition  is  not  very  closely 
related  to  Ghirlandaio’s  celebrated  fresco  of  this  scene. 

4.  S.  Giovannino  in  the  Desert  (Luke  I,  80).  The  youthful  S.  John  is 

here  shown  “in  the  desert”  which  consists  of  a thicket  of  palms  and  decidu- 
ous trees,  rocks  and  various  animals;  a stag,  frog,  chicken,  lizard,  etc. 
Garish  rays  of  light  are  emitted  through  a cloud  in  the  light  blue  sky.  S. 
Giovanni  carries  a yellow  cross  and  a scroll  inscribed  : PARATE  VIAM 

DOMINI. 

5.  The  Baptism  of  Christ  (Matth.  Ill,  13-17;  Luke  III,  21-22).  This 
composition  is  only  slightly  reminiscent  of  Verrocchio’s  celebrated  painting 
in  the  Accademia.  According  to  a very  old  tradition,  Christ  is  in  the  mid- 
dle of  the  Jordan,  S.  John  on  one  bank,  and  two  angels  on  the  other. 
Christ’s  feet  are  enveloped  in  a whirpool  of  greenish  blue  water.  Rocks, 
trees,  the  river,  mountains  and  a city  are  in  the  background.  The  heavens 
open  above  his  head,  where  are  seen  yellow  clouds,  but  the  Dove  in  this  re- 
lief seems  to  be  absent.  S.  John  carries  a yellow  cross  and  a scroll  in- 
scribed : ECCE  AGN VS  DE  ( I ) . 

6.  The  Beheading  of  John  the  Baptist  (Matth.  XIV,  3-12;  Mark,  VI, 
14-29;  Luke  III,  19-20;  IX,  9).  The  beheading  is  here  represented  not 
“in  the  prison”  but  outside  on  the  green  sward  with  a fruit  tree  and  crude 
landscape  in  the  background.  S.  John  is  on  his  knees,  while  the  Pollaiuo- 
lesque  executioner  with  yellow  handled,  blue  bladed  sword  proceeds  to  his 
task,  while  Salome  waits,  platter  in  hand,  to  bear  back  to  her  mother  the 
head  of  the  saint. 


52 


GIOVANNI  DELLA  ROBBIA 


Bibl.  : 

Bacci,  III.  Fior.,  1908,  146;  Burl.,  1 1 3 ; Carocci,  Il  Valdarno,  104-105; 
C-M.,  148-161,  158,  230  No.  159;  C.  s.v.  Rucellai;  Cr.,  231-232,  336; 
M.,  R.  H.,  192-193;  Milanesi,  Mise.  32,  III,  P,  a c.  207;  P.,  256-260; 
Repetti,  s.v.  Cerreto  Guidi;  R.,  D.R.,  251-252;  Sc.  FI.,  IV,  58,  61;  S., 
135,  Abb.  144;  Vas.,  II,  198;  Wills,  170-171. 

43  BAPTISM  OF  CHRIST.  Settimo  (near  Cascina),  S.  Casciano. 
Rectangular.  H.,  0.58m.;  W.,  0.48m.  Photo.,  Private. 

A version  of  the  Baptism  panel  in  the  font  at  Cerreto  Guidi.  Figures 
white,  background  polychromatic,  with  modifications  of  landscape  details. 
The  Dove  above  the  head  of  Christ  is  also  absent. 

Bibl.  : 

Cr.,  355- 

44  S.  GIOVANNINO  IN  THE  DESERT.  New  York.  Volpi  Collec- 
tion of  1917.  H.,  0.325m.;  W.,  0.42m.  Photo.,  Private. 

A repetition  (Fig.  26)  with  modified  background,  of  the  S.  Giovannino 
relief  in  the  font  at  Cerreto  Guidi. 

Bibl.  : 

Volpi  Sale  of  1917,  Cat.,  No.  48. 


Fig.  26. — S.  Giovannino.  Volpi  Collection. 


GIOVANNI  DELLA  ROBBIA 


53 


SAME  SUBJECT.  Paris.  Musée  de  Cluny,  No.  2800.  Statuette.  H., 
0,28m.  Photo.,  Leroy  & So.,  No.  976. 

The  figure  of  S.  Giovannino  and  the  hair-cloth  garment  are  unglazed,  the 
rest  glazed  in  natural  colours.  In  the  rocky  background  are  seen  a lamb, 
two  rabbits,  flowing  water,  a lizard,  etc.  The  young  Saint  holds  a scroll 
coarsely  inscribed 

JECCE:AGNVS  DEI  ECCE 

Bibl.  : 

C-M.,  274  No.  427;  Du  Sommerard,  Cat.  216  No.  2800. 

45  STEMMA  OF  FILIPPO  D’OTTO  SAPITI.  1512.  Sesto,  Palaz- 
zo Pretorio.  Photo.,  Private. 

Within  a white  fluted  disk  surrounded  by  a white  egg  and  dart  moulding 
is  a Tuscan  shield  (Fig.  27)  bearing  the  Sapiti  arms:  Azure,  three  bend- 
lets  gules,  fimbriated  or. 


Below  is  a slightly  curved  scroll  held  open  by  two  hands  exhibiting  the 
inscription  : 

y FILIPPO  y DOTTO 
SAPITI  y PODESTÀ 
*M  JCCCC  *XII+^ 

A Filippo  di  Otto  Sapiti  was  a Prior  of  Florence  in  1412  just  a hun- 
dred years  before  his  namesake  was  Podestà  al  Sesto. 

Bibl.  : 

Carocci,  I,  312;  C-M.,  248  No.  268;  C,  s.v.  Sapiti;  M.,  R.  H.,  198; 
P„  5*3-5i4- 


GIOVANNI  DELLA  ROBBIA 


54 

46  FONT  WITH  RELIEF  OF  S.  GIOVANNI  BATTISTA.  1513 
S.  Donato  in  Poggio  (near  S.  Casciano),  Pieve.  Hexagonal.  H., 
o.86m.  Photo.,  Private. 

A repetition  with  variations  of  the  Cerreto  Guidi  font,  lacking  the  entab- 
lature. Polychromatic  backgrounds.  The  order  of  the  scenes  is  changed, 
perhaps  so  that  the  Baptism  of  Christ  should  occupy  the  post  of  honour. 
The  alternate  pilasters  bear  the  date  A(NNO)  • N(OSTRI)  • S(ALVA- 
TORIS)  • M • D • XIII. 

Bibl.  : 

Cr.,  354. 

47  MADONNA  AND  CHILD  AND  SAINTS  IN  NICHES.  Candel- 
abrum bearing  Angels.  1513.  Arcevia.  S.  Medardo.  Cappella  del 
Rosario.  Altarpiece.  Photo.,  Moscioni,  4957-4958. 

This  altarpiece  (Fig.  28)  designed  for  the  Eremo  of  S.  Girolamo  del 
Sasso  Rosso,  outside  of  Arcevia,  stood  there  until  1625  when  the  Eremo 
was  suppressed.  Then  the  altarpiece  was  removed  to  the  church  of  S. 
Medardo  in  Arcevia.  On  its  removal  it  was  made  broader  by  the  addition 
of  two  pilasters,  one  on  either  side  in  the  background,  and  higher  by  being 
set  upon  a lofty  base  consisting  of  eight  sections  of  pilasters  distributed 
equally  on  either  side  of  a central  medallion.  I am  inclined  to  believe  that 
these  additions  were  derived  from  the  “transenna,”  or  balustrade  originally 
in  front  of  the  altar,  and  that  the  medallion  now  in  the  centre  of  the  base 
was  the  “occhio,”  mentioned  in  the  Documents.  The  “Santo  Hieronimo 
picholo”  and  the  “S.  Maria  Magdalena  picholo”  may  refer  to  the  small 
reliefs  of  those  saints  on  the  predella,  or  perhaps  have  disappeared. 

The  altarpiece  itself  is  known  by  documentary  evidence,  as  well  as  by 
its  style,  to  be  by  Giovanni  della  Robbia.  Its  date,  inscribed  both  on  the 
monument  and  in  the  archives  of  the  Eremo,  is  1513. 

The  predella  contains  a series  of  panels  more  or  less  closely  related  to 
S.  Girolamo.  There  are  ( 1 ) S.  Maria  Maddalena,  holding  a yellow 
vase  and  a blue  book,  (2)  the  Communion  of  S.  Girolamo  in  the  desert, 
(3)  S.  Girolamo  and  his  lions,  (4)  the  Nativity,  (5)  S.  Girolamo,  (6)  S. 
Girolamo  extracting  a thorn  from  the  lion,  (7)  S.  Maria  Egiziaca.  Here 
the  predella  ends. 

The  main  portion  of  the  altarpiece  consists  of  three  niches  set  between 
four  pilasters.  The  pilasters  are  decorated  with  white  grotteschi  on  blue 
(an  extension  of  the  design  used  in  the  font  at  Cerreto  Guidi)  and  are  in- 
scribed : 

(1)  y AN(N)0  • S(ALVATORIS)* 

(2)  A(NNO)  • N(OSTRI)  • S(ALVATORIS)  • MDXIII  • 

(3)  y AN(N)0  S(ALVATORIS)* 

(4)  y MDXIII  • 


GIOVANNI  DELLA  ROBBIA 


55 


Fig.  28. — Altarpiece.  Arcevia,  S.  Medardo. 


The  three  niches  contain  statuettes  of  (1)  S.  Giovanni  Battista  with 
scroll  inscribed  ECCE  AGNUS  DEI.  (2)  A Madonna  with  nude  Child 
across  her  lap.  Above  her  are  two  angels  and  the  Sacred  Dove  from  whom 
stream  golden  rays  of  light.  The  vault  is  coffered  with  yellow  rosettes  on 
blue,  and  its  supports  are  decorated  with  a pattern  of  cubes  each  showing 
yellow,  green  and  blue  sides.  The  archivolt  is  adorned  with  a garland  of 
fruit  and  flowers.  (3)  S.  Girolamo,  with  bared  breast,  holding  a crucifix. 
At  his  feet  a lion.  Behind  him  a yellow  tree  against  blue  background. 


56 


GIOVANNI  DELLA  ROBBIA 


Over  the  capitals  of  the  pilasters  are  incongruously  placed  blocks  orna- 
mented with  Sirens  and  palmettes — these  should  undoubtedly  be  placed  be- 
low the  pilasters,  as  in  the  S.  Lucchese  altarpiece  near  Poggibonsi,  where 
on  the  predella  is  an  Annunciation  similar  to  that  in  the  two  medallions 
here.  The  entablature,  broken  by  projections  corresponding  to  the  pilasters 
below,  is  adorned  with  cherubs  and  garlands  and  yellow  disks,  like  those  on 
the  fonts  at  Cerreto  Guidi  and  at  Galatrona.  Above  the  entablature  is  a 
small  lunette  containing  a fine  bust  of  God  the  Lather,  somewhat  Verroc- 
chian  but  characteristic  of  Giovanni  della  Robbia.  This  is  set  against  a blue 
fluted  shell  and  surrounded  by  a frame  adorned  with  arabesques.  On 
either  side  of  this  lunette  were  probably  set  the  candelabrum  bearing  angels, 
now  on  a lower  level.  The  inscription  on  the  bases  of  the  angels  justify  the 
interpretation  of  the  bust  in  the  lunette  as  God  the  Lather,  rather  than 
Christ.  The  inscriptions  read  : 

(1)  y BENEDICAMVR  P(AT)REM  ET  LILIV(M)  CV(M)  S(AN) 

C(T)0  SP(IRIT) V 

(2)  LAVDEM(VR)  ET  SVP(ER)EXALTEM(VR)  EV(M)  I(N) 

S(A)CRA(MENTO)  : 

Documents  : [Copied  by  Anseimo  Anseimi,  A.  S.  A.,  I (1888),  370-37  f .] 

1.  “Anno  Dni  MDXIII 

Et  piu  ha  dato  la  Comunità  fiorini  dodici  contanti  pelle  figure 
' facte  infiorenza  a perfecto  nostro  sindaco  li  quali  pagò  Tomaxo 
di  bianco  et  suoi  compagni  ogi  questo  di  17  di  luglio  1513 

fior  : 12  boi  : 00 

Et  piu  ha  dato  la  Comunità  al  veturale  che  portò  ditte  figure 
da  fiorenza  fiorini  quattro 

fior  : 4 boi  : 00.” 

[Libro  della  Edificazione  della  Chiesa  di  S.  Girolomo,  etc.,  scritto  di 
mano  di  Francesco  di  Mariano  Formosi  da  Siena,  c.  8‘.] 

2.  “Anno  Dni  MDXIII 

Et  piu  pella  cona  delaltare  magiore  facta  di  preta  cotta  in 
fiorenza  da  m°  Giovanni  di  m°  Andrea  della  rubbia  : costo 

infiorenza  la  prima  compra  fiorini  22  contanti 

fior  : 22  boi  : 00 

Et  piu  per  uno  occhio  per  la  chiesia  di  terra-cotta  (sic)  : et 
uno  santo  Uicronimo  picholo  pur  di  terracotta  fatti  in  fiorenza: 
et  una  santa  Maria  Magdalena  pichola  di  terra  : montorno  tutte 
sopra  ditte  cose  ....  fior  : 6 boi  : 00 

Et  piu  intra  vecture  et  cabelle  montorno  sopra  ditte  figure 
avenire  da  fiorenza  in  fino  a qua  a santo  Hieronimo  contanti 

....  fior  : 9 boi  : 00 


GIOVANNI  DELLA  ROBBIA 


57 


Et  piu  per  murare  sopra  ditte  figure  muro  m°  donato  sopra- 
ditto (Lombardo)  opere  2 et  2 di  manuale  montorno  ditte 
opere  bolognini  24  contanti  ....  fior  : 00  boi  : 24  ’ 

[Idem,  c.  132.] 

3.  “Anno  Dui  MDXIIII 

Et  piu  per  opere  3 amurare  dinanti  alle  figure  una  Trasanna 
mur°  m°  Ambrosio  (Lombardo)  con  3 manuali  montorno  sopra  ditte 
opere  in  tutto.  . . . fior:  00  boi  : 36” 

[Idem,  c.  132*.] 

4.  “Anno  Dni  MDXV 

Et  piu  per  oro  pelle  figure  compramo  in  fiorenza 

fior  : 2 boi  : 4 

Et  piu  per  oro  compramo  da  giovanfelice  monto 

fior  : 1 boi  : 20 

Et  piu  per  oro  compramo  da  ser  ciecho  spetiale 

fior  : o boi  : 20 

Et  piu  per  manifattura  di  metter  a oro  le  sopra  ditte  figure 
le  quali  messe  a oro  Pierfrancesco  da  Saxoferrato  monto  in 
tutto  fior:  4 boi  : 00” 

[Idem,  c.  133b] 

Bibl.  : 

Anseimi,  A.  e S.,  11(1883),  204;  111(1884),  io,  21/23;  VI(i887), 
233;  VII (1888),  234(Doc.);  A.  S.  A.,  I (1888),  369-371  (Doc.); 
I.  A.  E.  L,  I,  167;  N.  Riv.  Mis.,  I(i888),  4i-42(Doc.);  B.  J.,  98; 
B.,  A.  S.  A.,  11(1889),  2;  Kf.,  20;  Buri.,  1 1 2 ; C-M.,  160;  Cr.,  234, 
311  (Doc.),  327;  Lazari,  43;  R.,  D.  R.,  252-254;  Se.  FI. , IV,  60-62; 
Ricci,  II,  158;  Vas.,  II,  190  note  2. 

48  S.  LUCIA.  Arcevia.  S.  Medardo  (Sacristy).  Statue. 

When  in  Arcevia  some  years  ago  I noticed  in  the  sacristy  of  S.  Medardo 
a poorly  glazed  statue  of  S.  Lucia,  which  I then  attributed  to  the  school  of 
Giovanni.  Giovanni  himself  made  the  medallion  of  S.  Lucia  for  the  Cer- 
tosa. She  was  not  infrequently  represented  in  the  works  of  the  Buglioni, 
as  in  the  Coronation  lunette  at  the  Ognissanti,  and  in  the  Nativity  in  the 
Poliak  gallery,  Rome. 

49  CANDELABARUM  BEARING  ANGELS  AND  A PREDELLA. 
1513.  Florence.  S.  Ambrogio  (Sacristy).  Two  statuettes.  H., 
0.54m.  Photo.,  Private. 


58 


GIOVANNI  DELLA  ROBBIA 


According  to  the  archives,  Giovanni  della  Robbia  made  two  angels  and  a 
predella  for  the  altar  of  the  Sacrament  of  S.  Ambrogio  in  1513.  These 
angels  (Fig.  29,  30)  glazed  white,  are  essentially  repetitions  of  those  on  the 
altarpiece  in  S.  Medardo,  Arcevia.  They  show  the  influence  of  Benedetto 
da  Maiano  rather  than  of  Andrea  della  Robbia.  They  have  violet  linear 


Fig.  29,  30. — Candelabrum  bearing  Angels.  Florence,  S.  Ambrogio. 

1 sn  s 

brows,  lashes,  and  pupils  with  no  distinction  of  irises.  They  are  set  on 
polygonal  bases  inscribed  : 

( 1 ) + REFICIT  CIBVS  HIC  MVNDO  CORDES  VT  MENTES  + 
(2)  + POLLVTO  AVTEM  IDEM  INFICIT  DENTES  + 

The  predella  is  no  longer  in  this  church.  Obviously  it  served  as  a cibo- 
rium,  and  may  have  resembled  the  predella  in  S.  Piero  Maggiore. 


Document:  [Copied  by  Mr.  R.  G.  Mather.] 

MDXIIJ 

Giovanni  dandrea 
contrascripto  de  dare  lire 
dicasette  et  soldi  10 
havuti  in  piu  partiti 
per  insino  adi  12  doctobre 
1513  a uscita  s (segnato) 
I a c.  319 
Lire  17  soldi  10  d-” 

[ Archi v.  di  Stato,  Chiesa  di  S.  Ambrogio,  Libro  Debitori  e Creditori, 
Anni  1512  a 1519-  segnato  Comp.  Relig.  Soppresse  No.  79,  Cod.  61  a c.  7.] 

Bibl.  : 

C-M.,  130;  Cr.,  340;  R.  G.  M.,  L’Arte  (1918),  206  XIV  1-2  (Doc.)  ; 
Vas.,  II,  182  note  2. 


"M.  DXIIJ 

Giovannj  dandrea  della  robbia  debbe  havere 
f(iorini)  2 larghi  et  doro  in  oro  per 
dua  angieli  ci  ha  fatti  con  la  predella 
dello  altare  di  terra  cotta  dove  sta 
il  sacramento  che  cosi  siamo 
dacordo  lui  con  il  p( riore) 

Lire  17  soldi  io  d- 


GIOVANNI  DELLA  ROBBIA  59 

50  TWO  CANDELABRUM  BEARING  ANGELS.  Florence.  S. 
Maria  della  Misericordia.  Statuettes  H.,  0.80m.  Photo.,  Brogi,  4898- 
4899. 

These  angels  (Figs.  31,  32),  glazed  in  white  and  set  on  rounded  bases 


Fig.  31,  32. — Candelabrum  bearing  Angels.  Florence,  Misericordia. 


are  to  be  assigned  to  Giovanni’s  atelier.  They  lack  the  expression  of  his 
candelabrum  bearers  at  Arcevia,  Galatrona,  and  in  S.  Ambrogio,  Florence. 

Bibl.  : 

C-M.,  210  No.  31  ; Cr.,  341. 

51  TWO  CANDELABRUM  BEARING  ANGELS.  Florence.  Pal- 
azzo Frescobaldi.  Statuettes.  Photo.,  Private. 

Glazed  white,  on  violet  bases,  also  violet  haloes.  Kneeling  with  one  hand 
to  breast,  the  other  holding  on  knee  the  box-like  base  of  a candlestick. 

52  CANDELABRUM  BEARING  ANGEL.  Florence.  Bardini  Collec- 
tion (formerly).  Statuette.  Photo.,  Private. 

On  a console  of  rounded  form,  capped  with  egg  and  dart  and  leaf  mould- 
ings, and  bearing  a beribboned,  late  Tuscan  shield,  with  coat  of  arms  now 
effaced,  stands  a candelabrum  bearing  Angel  glazed  white. 

53  CANDELABRUM  BEARING  ANGEL.  Florence.  Bardini  Collec- 
tion (formerly).  Statuette.  H.,  0.65m. 


6o 


GIOVANNI  DELLA  ROBBIA 


Polychromatic.  Gown  blue,  mantle  yellow  lined  green,  sleeves  white, 
crossing  ribbons  on  breast  white. 

54  CANDELABRUM  BEARING  ANGEL.  Berlin.  Kaiser-Friedrich- 
Museum  (formerly)  No.  133.  Statuette.  H.,  0.85m. 

Acquired  in  1861  from  the  Minutoli  collection.  White  glaze.  Eyes 
dark,  irises  left  white. 

Bibl.  : 

Bode-Tschudi,  44  No.  133;  C-M.,  261  No.  355;  Cr.,  333. 

55  CANDELABRUM  BEARING  ANGEL.  Berlin.  Collection  Herr 
Adolph  von  Beckrath.  Statuette.  H.,  0.79. 

In  the  collection  of  Herr  von  Beckerath  in  1895  was  an  unglazed  candel- 
abrum bearing  angel  which  then  appeared  to  me  to  be  attributable  to  Gio- 
vanni della  Robbia. 

Bbl.  : Fabriczy,  J.  k.  p.  K.,  XXX  (1909).  Beiheft,  25  No.  59. 

56  TWO  CANDELABRUM  BEARING  ANGELS.  Boston.  Collec- 
tion of  Mr.  J.  Lindon  Smith.  Statuettes.  H.,  0.32m. 

White  figures  on  green  bases. 

Bibl.  : 

M.,  D.  R.  A.,  128. 

57  TWO  CANDELABRUM  BEARING  ANGELS.  London.  Donald- 
son’s Gallery.  Statuettes.  H.,  0.43m. 

Glazed  white,  on  violet  bases.  Kneeling.  One  has  no  glaze  on  face  or 
hair. 

58  TWO  CANDELABRUM  BEARING  ANGELS.  Paris.  Louvre 
No.  438  (old  no.  G.  747,  748).  Statuettes.  H.,  0.55m.  Photo., 
Private. 

From  the  Campana  Collection.  Nudes  unglazed.  Robes  white,  collars 
and  sleeves  green,  mantle  blue  edged  yellow.  The  angels  kneel  and  hold 
the  white  bases  for  candles.  Similar  angels  occur  beside  the  Nativity  al- 
tarpiece  of  1521  in  the  Museo  Nazionale,  No.  25. 

Bibl.  : 

C-M.,  277  No.  446;  Cr.,  350. 


GIOVANNI  DELLA  ROBBIA 


61 


59  TWO  CANDELABRUM  BEARING  ANGELS.  Paris.  Louvre, 
No.  454  (old  no.  G.  758,  759).  Statuettes.  H.,  0.66m.  Photo., 
Private. 

From  the  Campana  Collection.  Nudes  unglazed.  White  robes  with  blue 
(Collars;  mantle  blue  lined  green. 

Bibl.  : 

C-M.,  278  No.  453;  Cr.,  350. 

60  TWO  CANDELABRUM  BEARING  ANGELS.  Paris.  Louvre,  No. 
455  (old  no.  G.  760,  761).  Statuettes.  H.,  0.47m.  Photo.,  Private. 

From  the  Campana  Collection.  The  angels  are  glazed  white.  They  are 
kneeling,  each  with  both  hands  holding  a baluster  shaped  candlestick. 

Bibl.  : 

C-M.,  278  No.  454;  Cr.,  351. 

61  TWO  CANDELABRUM  BEARING  ANGELS.  Paris.  Collection 
M.  Émile  Gavet.  Statuettes.  H.,  0.38m. 

Unglazed.  Possibly  originally  associated  with  the  unglazed  medallion  of 
the  Madonna  and  Child  in  the  Berwind  collection,  Newport. 

Bibl.  : 

Gavet,  Sale  Cat.,  1897,  Nos.  210-211;  Molinier,  Cat.  Gavet,  Nos.  17- 

18.  PI.  8. 

62  CANDELABRUM  BEARING  ANGEL.  Paris.  Musée  de  Cluny, 
No.  2797.  Statuette.  H.,  0.72m.  Photo.,  Leroy  969. 

Nudes  unglazed.  Tunic  white  with  yellow  sleeves,  mantle  blue  lined 
green,  base  mottled  violet. 

Bibl.  : 

Burl.,  85;  C-M.,  273  No.  424;  Cr.,  351;  Du  Sommerard,  Cat.,  No. 
2797. 

63  TWO  CANDELABRUM  BEARING  ANGELS.  S.  Amato,  (near 
Pistoia).  L’Assunta. 


Ó2  GIOVANNI  DELLA  ROBBIA 

Large,  polychrome  angels.  Probably  candelabrum  bearers  and  from 
Giovanni’s  atelier. 

Bibl.  : 

Burl.,  1 17;  C-M.,  249  No.  279;  Cr.,  353. 

64  CANDELABRUM  BEARING  ANGELS.  S.  Casciano.  S.  Maria 
a Casavecchia.  Statuettes.  H.,  0.62m. 

On  two  brackets  at  the  entrance  to  the  choir  are  two  kneeling  candela- 
brum bearing  angels.  Glazed  white. 

Bibl.  : 

Carocci,  S.  Case.,  62.  Cr.,  354. 

65  TWO  CANDELABRUM  BEARING  ANGELS. 

(near).  Compagnia  della  Madonna  del  Carmine 
Statuettes. 

Brogi  catalogues  two  candelabrum  bearing  angels,  which 
small,  kneeling,  broken,  and  badly  restored. 

Bibl.  : 

Brogi,  Inv.,  510. 

66  PILASTER  WITH  CANDELABRUM  DECORATION.  Paris. 
Musée  de  Cluny  No.  2803.  Photo.,  Leroy,  807. 

This  pilaster  (Figs.  33,  34),  designed  for  the  frame  of  a niche  or  of  an 
altarpiece,  is  glazed  white  against  a blue  background.  Its  panelled  surface 
is  surrounded  by  an  egg  and  dart  moulding  and  is  decorated  by  an  elabo- 
rate design  in  which  occur  griffins,  putti,  a siren,  a vase,  cornucopias,  etc., 
leading  up  to  a basin  ablaze  with  tongues  of  fire.  The  capital  shows  Gio- 
vanni’s favorite  motive  of  the  two  dolphins  drinking  from  a vase.  Gio- 
vanni’s imagination  was  full  of  such  motives  as  these  when  he  made  the 
altarpiece  at  Arcevia  (1513)  and  the  font  for  Galatrona  (1518). 

Bibl.  : 

C-M.,  273  No.  422;  Cr.,  351;  Du  Sommerard,  Cat.,  2803. 


S.  Gimignano 
alla  Canonica. 


he  describes  as 


GIOVANNI  DELLA  ROBBIA 


Fig.  33,  34. — Pilaster.  Paris,  Cluny  Museum. 


67  THE  NATIVITY,  MADONNA  AND  TWO  ANGELS. 
Buonsollazzo,  Monastero  (formerly).  Altarpiece. 


63 


I5!3- 


The  following  documents  relate  to  an  altarpiece  by  Giovanni  della  Rob- 
bia, formerly  in  the  monastic  church  at  Buonsollazzo.  Its  whereabouts  is 
no  longer  known. 

It  represented  the  Nativity  and  was  set  above  the  principal  altar.  Upon 
its  cornice,  apparently,  stood  free-standing  figures  of  the  Virgin  Mary  and 
two  Angels. 

The  Virgin  was  provided  with  a cloth  mantle  bordered  with  lace,  a veil, 
and  a gilded  crown.  A figure  of  S.  Bernardo  appears  to  have  been  asso- 
ciated with  the  altarpiece. 

Whether  it  was  provided  with  a framework  is  not  stated.  But  some 
device  it  certainly  possessed  to  contain  the  chalice  and  sacred  host,  for  it 
formed  part  of  a Corpus  Domini. 

Documents:  [Copied  by  Mr.  Rufus  G.  Mather.] 

i.  “Adi  28  di  maggio  1513 

Et  adj  15  di  decto  (luglio)  1 3 - s io  da  matteo  sancto 
n(ost)ro  còmesso  p(er)  còto  di  messe  di  s°  gregorio  decte  dame: 


64 


GIOVANNI  DELLA  ROBBIA 


dequali  danari  ne  debbo  conperare  una  vergine  Maria  p(er) 

tener  (e)  in  sullo  altare  magg(i)or(e)  come  costuma  lordine  n(ost)ro  - 

1 3 s io  dj  - 

Et  adj  veti  sette  di  decto  (luglio)  dal  padre  Don 
Hyeronimo  in  preséte  priore  dj  cestello  1 3-5  13  sono 
p(er)  helemosina  che  sua  paternità  fa  alla  Natività  che 
io  ho  dato  a Joha(n)nj  della  robia  a far  far(e)  1 3 - s 13” 

[Archivio  di  stato,  Monastero  di  Buonsollazzo,  Libro  di  Entrata  e Uscita 
di  Sagrestia  15 — al  15 — segnato  Compagnie  Soppresse  C,  XVIII  n°  515, 
Entrata  di  Sagrestia  a c.  6'.] 

2.  “adj  7 di  maggio  1518  + 

Ricordocome  adj  13  di  novembre 

passato  decti  staia  di  grano  octo  a gova(n)nj  della 
Robbia  p(er)  parte  del  pagamento  della  tavola 
quale  dovea  fare  del  corpus  D(omin)j  : quale  grano 
metto  qui  ad  entrata  lire  octo  et  soldi  sedicj  et 
piu  et  manche  (piu  e meno)  lo  potrà  metter  (e) 
anchora  el  sagrestano  che  verrà  secondo  che  si 
potrà  informar(e)  si  vende  in  quel  tempo,  perche 
decta  tavola  nò  Ando  inhanzi  p(er)  suo  defecto 
unde  neresta  debitor  (e)  come  appariscie  al  libro 

de  ricordj  a carte  9 — 1 8 s 16  dj 

[Idem  a c.  15'.] 

3.  “AD  MDXIIJ 

Et  adj  13  di  septembre  1 8 pagai  a Johan (n)j  dj 
Andrea  della  robia  p(er)  còto  dj  una  Vergine  maria 
et  dua  angeli  che  lui  mi  ha  facti  p(er)  tener  (e)  in  sullo 
aitar  (e)  maggor(e) — 1 8 s-  dj-” 

[Archiv.  idem,  Uscita  di  Sagrestia  a c.  2.] 

4.  “MDXIIJ 

Et  adj  decto  (22  di  octobre)  pagai:  a gova(n)ni 

della  robia  1 io  s io  p(er)  còto  della  natività  - 1 io  s io  dj  - 

Et  adj  29  di  decto  (octobre)  1 1 s 6 dj  io  pagai 
al  detto  gova(n)nj  p(er)  una  ocha  et  altre  cose  che 

gli  mandaj  come  appare  al  còto  suo  alibro  de  ricordj' — 1 1 s 6 dj  io 

E adj  decto  (8  di  novembre)  s 2 spesi  in  colori 

p(er)  lo  smalto  dello  altare  della  natività  — 1 - s 2 dj  - 

Et  adj  20  di  decto  (novembre)  conperai  un  paio 
di  capponi  p(er)  presentar  a quelli  che  mi  hano  facto 


GIOVANNI  DELLA  ROBBIA 


65 


la  qual  montava.  1 14 

haver  (e)  la  gabella  della  capanuccia  in  dono  (so  written  in  originai) 
costorono  s 27  - 1 1 s 7 dj  - 

Et  adj  18  di  decto  (Dicembre)  pagai  a francescho  di  pintor(e) 

1 sedici  et  soldj  sedici  p(er)  ogni  suo  resto  che  havessi  haver(e) 
da  me  p(er)  cóto  del  colorire  parte  della  Natività  - 1 16  s 16  dj  - ” 

[Idem,  a c.  2*.] 


5.  “MDXIIIJ 

Et  adj  24  di  sopradecto  (Dicembre  1513)  1 dua  et  s sedie j 

pagai  p(er)  il  vecturale  a gova(n)nj  della  robia  - 1 2 s 16 

Et  adj  decto  (24  di  Dicembre  1513)  ho  facto  conto  com  (e) 

apparisce  al  libro  de  ricordi  haver  (e)  speso1  in  piu  volte 

tra  colori,  oro  et  altre  cose  necessarie  aldipinger(e)  et 

adornar(e)  la  Natività  1 sette  et  soldj  sedici  et  danarj  ij  - 1 7 s 16  dj  11 

Et  adj  15  di  febraio  (1513)  in  braccia.Qcto  e.t  memjdq 

drappo  p (eri  far.LeL_eL  mantellino-alla  Vergine  maria  spesi 

lire  diciassette  1 17  s - dj  - 

Et  piu  adi  decto  in  veli  p(er)  decta  gloriosa  Vergine 

lire  una  et  soldj  dieci  - 1 1 s io  dj  - 

Et  adj  decto  in  Trina  p(er)  orlar  (e)  el  mantellino  lira 
una  soldj  sei  — 1 1 s 6 dj  - 

Et  adj  18  di  sopradecto  in  oro  p(er)  dorar  (e)  la  corona 
della  Vergine  soldj  cinque  — 1 - s 5 dj  - ” 

[Idem,  a c.  3.] 


6.  “+  1517 

Et  piu  adj  decto  (12  di  luglio)  p(er)  gabella  dj  una 
soma  dj  in  vetriatj  della  Robia  - 1 - s 6 dj  8 

Et  adj  20  di  decto  (luglio)  in  uno  papero  manda j 
a gova(n)nj  della  Robia  p(er)  cóto  dj  uno  s(an)cto  ci  ha 
facto  soldj  undicj  et  danarj  diecj  - 1 - s 11  dj  io’’ 

[Idem,  a c.  7.] 


7.  “Et  adj  sopradecto  (21  di  luglio  1517)  a govannj  della 
Robia  lire  dua  p(er)  conto  dj  lavoro  hauto  da  luj 

porto  el  vecturale  n(ost)ro — 1 2 s - dj  - 

Et  adj  5 di  decto  (agosto)  a domenicho  dipintore 
p(er)  color  i ha  logoro  in  dipinger  (e)  el  s(an)cto  Bernardo 
fece  far  (e)  el  padre  Don  Raphaello  p(er)  se  soldj  nove — 1 - s 9 dj  - ” 

[Idem,  a c.  7'.] 


66 


GIOVANNI  DELLA  ROBBIA 


8.  “1517 

Et  adj  io  di  decto  (agosto)  p(er)  vecture  pagate 
a don  philippo  dj  legne  che  manda j al  gova(n)nj 
della  Robia:  p(er)  cóto  di  dua  angoli  che  gli  fo 
far  (e)  p(e)  mettere  in  mezo  el  sacramento  lira 

una  et  soldj  quattordicj  pagaj  ad  Iti j contanti — ■ 1 1 s 14  dj  - 

[Idem,  a c.  8.] 

9.  “Et  piu  adj  decto  ( 16  di  Octobre)  soldj  cinquanta  decti  ad 
Angelo  di  polo  p(er)  conto  dj  gova(n)nj  della  robia  equalj 

Va(n)no  in  conto  del  pagamento  della  tavola  del  Sagramèto.  1 2 s io  dj  - " 
[Idem,  a c.  8'.] 

10.  “Adj  19  di  Novembre  1517 

Et  adj  22  di  decto  (Novembre)  lire  dua  a Simone 
cerchiaio  sono  p(er)  còto  dj  legne  ha  dato  a gova(n)nj  della 
robia  p(er)  mio  conto — 1 2 s - dj  ’’ 

[Idem.,  a c.  9.] 

11.  “Adj  6 di  Maggio  1518 

Ricardo  come  adj  13  di  Novembre  passato  dicti  st. 

8 di  grano  a govanni  della  Robia  come  apparisce 
allibro  de  ricordj  a carte  9 le  quale  metto  bora  qui 
ad  uscita  perche  nolo  messe  prima 

p(er)  qualche  bon  rispecto  1 8 s 16  dj 

[Idem.,  a c.  io.] 

Bibl.  : 

Amati,  s.  v.  Buonsollazzo ; Guasti,  di  Cafaggiolo,  167  note  (Doc.). 

68  NATIVITY  WITH  SS.  STEFANO  E LORENZO,  c.  1513.  Pes- 
cata (near  Vaglia),  S.  Stefano.  Altarpiece. 

When  in  1911  I sent  a photographer  to  Pescaia  to  reprodace  this  altar- 
piece  be  brought  me  word  that  it  was  no  longer  there.  When  I saw  it  some 
years  earlier  it  had  been  removed  to  a location  behind  the  high  altar,  only 
the  predella  remaining  in  front.  Cavallucci  describes  the  predella  as  ex- 
hibiting the  Virgin  between  S.  Niccolò  da  Bari,  S.  Sebastiano,  S.  Felicitai  ?) 
and  S.  Antonio  Abate.  In  conversation  with  me  he  added  that  at  the  end 
were  displayed  the  Davanzati  and  the  Pazzi  arms.  The  Davanzati  arms 
are  : Azure,  a lion  rampant  or,  and  the  Pazzi  arms  : Azure,  two  dolphnis 
addorsed  or  accompanied  by  four  (five  or  six)  crosslets  fitchy  of  the  same. 


GIOVANNI  DELLA  ROBBIA 


67 

This  altarpiece  was  probably  a votive  offering  of  Giovanni  di  Niccolò  Da- 
vanzati  and  his  wife  Caterina  di  Ghinozzo  Pazzi  who  were  married  in  1512. 

The  altarpiece  was  divided  into  three  sections  by  narrow  pilasters  deco- 
rated with  garlands  of  triplex  fruit  rising  from  blue  vases  and  terminating 
in  dolphin  capitals.  To  the  left  was  S.  Stefano  patron  saint  of  the  church, 
clad  in  white  tunic  and  wearing  a mantle  of  blue  lined  violet.  Lace  and 
hands  unglazed.  On  his  breast  a rectangular  pectoral  representing  Christ 
bearing  the  Cross.  A similar  rectangular  decoration  on  the  lower  portion 
of  the  tunic  represented  S.  Stefano  preaching.  Behind  his  head  was  a blue 
conch;  below  him  was  inscribed  SA(N)CTVS  STEPHANVS 
Above  the  niche,  as  in  the  altarpiece  at  Arcevia,  was  a medallion  with  S. 
Gabriele  in  white  with  sleeves  of  blue  and  green  and  with  polychromatic 
wings  striated  horizontally. 

The  central  relief  represented  the  Nativity.  The  nude  Child  lay  on  yel- 
low straw,  S.  Giovannino  near  him.  S.  Giuseppe  was  robed  in  blue  edged 
yellow  and  wore  a yellow  mantle  ; the  Madonna  wore  a tunic  of  violet  edged 
yellow  and  a mantle  of  blue  lined  green.  Paces  and  hands  unglazed. 
There  were  present  the  ox  and  ass,  and  two  shepherds,  one  with  fruit,  the 
other  bearing  a lamb.  The  stable  was  built  of  violet  bricks  and  angels  with 
the  inscription  GLORIA  IN  EXCELSI(S)  DEO  ET  IN  TERRA 
(PAX)  HOMINIBVS  BONAE  VOLVNTATIS  from  Luke  II,  14.  In 
the  centre  above  a yellow  star  was  an  angel  with  the  inscription  ANVMTIO 
VOBIS.  At  the  angles  a head  of  David  crowned  with  a scroll  inscribed 
LAVDATE  PVERI  D(OMI)N(V)M  LAVDATE,  and  of  Isaiah  with 
ECCE  VIRGO  CONCIPIET  (Is.  VII,  14).  At  the  base  of  the  central 
relief  between  egg  and  dart  mouldings  was  inscribed  PVER  NATVS 
E(S)T  NOBIS  ET  FILIVS  DATVS  E(S)T  NOBIS  (Is.  IX,  6). 

To  the  right  was  S.  Lorenzo  robed  in  white  with  a mantle  of  green  orna- 
mented in  black  lined  violet,  edged  yellow.  Face  and  hands  not  glazed. 
His  pectoral  was  inscribed  with  a picture  of  the  Resurrection  of  Christ, 
and  the  rectangular  decoration  on  the  lower  portion  of  his  robe  represented 
S.  Lorenzo  distributing  alms  to  the  poor.  His  inscription  read 
SA(N)CTVS  LAVRENTIVS.  Above  him  was  a medallion  of  the 
Annunziata,  robed  in  violet  edged  yellow  with  a mantle  of  blue  lined  green, 
kneeling.  In  the  background  a white  curtain. 

The  entablature  of  the  altarpiece  consists  of  an  architrave  ornamented 
with  pearls  and  capped  with  a flat  leaf  moulding,  a frieze  of  white  cherub 
heads,  polychrome  garlands  and  yellow  disks,  and  a cornice  ornamented 
with  egg  and  dart,  channelling,  bead  and  reel,  and  leaf  mouldings. 

Bibl.  : 

Burl.,  1 18;  C-M.,  253  No.  306;  C.,  s.v.  Davanzati,  Pazzi;  Cr.,  355; 

M.,  R.  H.,  206;  Litta,  s.v.  Pazzi,  Tav.  4. 


68  GIOVANNI  DELLA  ROBBIA 

69  ENTOMBMENT  OF  CHRIST.  Florence.  S.  Salvatore  al  Monte. 
Lunette.  H.,  1.30m.,  without,  and  1.90m.  with  finial;  W.,  2.50m. 
Photo.,  Brogi,  9373. 

Over  the  north  door  (interior)  of  the  little  church  of  S.  Salvatore,  for- 
merly S.  Francesco,  on  the  hill  of  S.  Miniato,  is  a lunette  of  the  Entomb- 
ment (Fig.  35),  one  of  Giovanni  della  Robbia’s  most  characteristic  works. 
This  church,  much  admired  by  Michelangelo,  was  built  by  the  architect 
Simone  del  Pollaiuolo,  known  as  II  Cronaca,  through  funds  supplied  by  Cas- 
tello di  Piero  di  Bernardo  di  Neri  Quaratesi,  a wealthy  friend  of  the  Medici. 
Castello  Quaratesi  had  held  high  official  position  in  Florence,  having  been 


Fig.  35. — The  Entombment.  Florence,  S.  Salvatore. 

Prior  in  1428  and  both  Prior  and  Gonfaloniere  in  1441  and  1447.  Late 
in  life  he  became  a benefactor  of  the  monastery  of  S.  Francesco  dell’Os- 
servanza. In  1465  he  enlarged  the  cloister,  but  little  was  done  for  the 
church  until  1487.  By  1493  the  walls  were  ready  and  in  1504  the  church 
was  dedicated.  In  1508  Castello  died  and  in  1509  the  Università  dell’  Arte 
dei  Mercatanti,  to  whose  charge  he  had  left  the  building  of  the  church,  set 
up  an  inscription  on  the  triumphal  arch  of  the  church,  “In  memoria  di 


GIOVANNI  DELLA  ROBBIA 


69 


Castello  Quaratesi  edificatore  di  detta  chiesa.”  The  lunette  of  the  Entomb- 
ment bears  his  coat  of  arms  painted  on  two  shields  held  by  two  putti  seated 
on  either  side  of  the  flaming  vase,  a motive  used  by  Benedetto  da  Maiano 
on  the  Porta  dell’  Udienza  of  the  Palazzo  Vecchio  in  1476  to  1481.  The 
■Quaratesi  arms  : Or,  a chief  azure  charged  with  an  eagle  argent,  painted 
on  the  shields  are  now  almost  effaced. 

The  group  in  the  lunette  consists  of  seven  figures  about  the  dead  Christ. 
These  are  from  left  to  right  Joseph  of  Arimathaea,  two  Maries,  the  Mater 
Dolorosa,  S.  Giovanni,  the  Maddalena,  and  Nicodemus.  From  the  eyes 
of  every  one  tears  are  falling,  but  there  is  no  evidence  of  emotion  as  in 
Donatello’s  representations  of  the  same  subject.  The  figures  are  coloured 
with  oil  paint,  not  glazed. 

Bibl.  : 

B.,  Kf.,  21  ; Jahr.,  VIII  (1887),  218-220;  FI.  Bildh.,  329-331  ; FI.  Sc., 
198-200;  Denkm.,  89,  Taf.  281;  Burckh.,  435;  Cr.,  239,  328;  Fab- 
riczy,  /.  k.  p.  K.,  XXX  (1909),  Beili.,  34  No.  1 1 3 ; Geymiiller,  V.  II 
Cronaca,  2;  S.,  141,  Abb.  153;  Vas.,  IV,  448. 

70  THE  ENTOMBMENT  OF  CHRIST.  Faenza.  Museo  Pasolini 
(formerly  in). 

Malagola  mentions  amongst  the  Robbia  works  at  Faenza,  a Cristo  morto 
fra  le  Marie,  composed  of  figures  of  two  Maries  supporting  the  sorrowing 
Virgin,  another  Mary,  S.  Giovanni,  Nicodemus,  Joseph  of  Arimathaea,  and 
the  dead  Christ  extended  on  a richly  decorated  sarcophagus,  the  front  of 
which  displays  an  escutcheon,  with  the  letter  G in  Gothic  characters,  set 
within  a garland.  Delange  mentions  a similar  monument  dated  MCCCC- 
LXXXVI. 

Bibl.  : 

Argnani,  17  note  5 ; Delange,  Appendice  all’ Istor.,  258  ; Frati,  1 1 No.  1 ; 
Guasti,  Caf uggiolo,  154;  Malagola,  103,  464. 

71  LAMENTATION  OVER  THE  DEAD  BODY  OF  CHRIST.  1514- 
1515.  Florence.  Museo  Nazionale,  No.  64.  Altarpiece.  H.,  2.91m.; 
W.,  2.35m.  Photos.,  Alinari,  2752  ; Brogi,  9474. 

In  the  Via  della  Scala,  at  the  corner  of  the  Via  degli  Oricellari,  is  a 
building  labelled  “Pia  Casa  di  Patronato  pei  minorenni  corrigendi.”  Here 
formerly  stood  a hospital  for  foundlings  established  in  1313  by  Cione  di 
Lapo  di  Gherardo  Pollini,  a high  official  in  the  Arte  della  Lana.  After  the 
1 siege  of  Florence  in  1529  the  hospital  carne  under  the  care  of  the  Augus- 


70 


GIOVANNI  DELLA  ROBBIA 


tinian  nuns  of  S.  Martino  dalle  Panche,  and  in  1536  became  amalgamated 
with  the  Innocenti  Hospital.  The  nuns,  however,  continued  to  occupy  a por- 
tion of  the  building  until  their  suppression  in  1868.  At  that  time  this 
altarpiece  (Pig.  36),  which  stood  in  a chapel  in  the  garden  of  the  mon- 
astery, was  transferred  to  the  Museo  Nazionale. 

Some  indication  of  the  history  of  the  altarpiece  is  contained  on  its  pre- 
della. On  either  side  of  the  central  relief  of  the  Annunciation  are  the  bam- 
bini in  swaddling  clothes — inferior  by  far  to  the  bambini  of  the  Innocenti 
Hospital  made  not  so  many  years  earlier  by  Giovanni’s  father.  At  the 
ends  of  the  predella  are  coats  of  arms,  ordinarily  indicative  of  the  donors. 
At  the  dexter  end  are  the  Accolti  arms  : Barry  argent  and  gules,  a bordure 
azure  charged  with  eight  estoiles  or.  Cardinal's  hat  above,  gules.  The  Car- 
dinal’s hat  refers  us  undoubtedly  to  Pietro  de  Benedetto  Accolti  who  was 
made  a Cardinal  by  Julius  II  on  March  10,  1510.  As  we  have  documentary 
evidence  that  this  altarpiece  was  made  in  1514  and  1515,  the  arms  cannot 
refer  to  the  only  other  Cardinal  of  the  Accolti  family,  Benedetto  di  Michele, 
who  did  not  receive  his  appointment  until  1527.  Pietro  was  a near  relative 
of  Bernardo  Accolti,  prior  of  the  monastery  at  the  time  when  the  altarpiece 
was  made,  and  a poet  much  favored  by  Leo  X,  during  whose  Papacy  many 
commissions  fell  to  the  lot  of  Giovanni  della  Robbia.  At  the  sinister  end 
of  the  predella  are  the  Pollini  arms  : Azure , three  mill  wheels  or,  two  and 
one,  separated  by  a fess  of  the  same  charged  with  a ladder  of  three  rungs 
gules.  The  ladder  in  this  case  was  omitted  or  has  been  worn  away.  The 
descendant  of  the  founder  here  indicated  was  probably  Niccolò  di  Cione 
di  Niccolò,  one  of  the  twelve  who  ruled  the  Arte  della  Lana  from  1515  to 
1528,  or  possibly  his  brother  Girolamo  who  served  as  Gonfaloniere  di  Com- 
pagnia in  1521. 

On  the  predella  is  set  a frame  exhibiting  between  rope  and  egg  and  dart 
mouldings,  blue  vases  with  S shaped  handles  from  which  rise  against  a 
white  background  garlands  of  fruit  and  flowers,  meeting  at  the  top  in  a 
medallion  containing  a white  dove.  The  bunches  are  rectangular,  the  fruit 
for  the  most  part  forming  triplex  compositions  crossed  by  white  flowers. 
The  bunches  are  separated  from  each  other  and  fastened  together  by  rec- 
tilinear, transverse  ribbons. 

The  central  relief  represents  the  Pietà  or  Lamentation  over  the  Dead 
Body  of  Christ  and  consists  of  four  figures.  To  the  left  is  S.  Giovanni  on 
his  knees,  with  his  right  hand  upholding  the  shoulders  of  the  dead  Christ. 
He  is  clad  in  green  tunic  edged  with  yellow,  over  which  is  a light  blue 
mantle  lined  yellow.  His  eyes  have  yellow  irises,  but  violet  brows,  lashes 
and  pupils.  The  Madonna  wears  over  a brownish  tunic  a violet  cloak  lined 
with  green  and  fastened  with  a cherub  brooch.  Over  her  knees  is  the  dead 
Christ,  not  so  stiff  as  at  Moulins  and  at  Berlin,  but  somewhat  relaxed  as  in 


GIOVANNI  DELLA  ROBBIA 


/ 


i 


U W UV  I* 


Fig.  36. — Lamentation.  Florence,  Museo  Nazionale. 


<1  -V  (t  ' L i Jt.tJl  OM  UK  j 


GIOVANNI  DELLA  ROBBIA 


72 

Michelangelo’s  Pietà  in  S.  Peters.  The  Maddalena  in  light  blue  edged  yel- 
low, with  a mantle  of  green  lined  yellow  kneels  to  the  right.  In  the  back- 
ground is  represented  a wooden  cross  crudely  grained,  bearing  the  crown 
of  thorns,  capped  by  a tabella  ansata  inscribed  'I'N'R'I'  for  Jesus 
Nazarenus  Rex  Judaeorum,  which  in  turn  is  surmounted  by  the  Pelican 
feeding  her  young  from  her  blood,  a symbol  of  the  atonement  (Evans, 
Animal  Symbolism,  p.  128).  Above  the  transverse  portion  of  the  cross 
are  the  sun  and  moon;  below,  angels  in  green  and  yellow  robes  and  with 
polychromatic  wings,  bearing  a spear  and  a sponge.  The  garish  sky  is 
a brutal  attempt  to  render  the  atmospheric  disturbances  which  attended  the 
crucifixion.  Below  is  an  extensive  landscape  in  which  we  may  detect  in 
the  distance  Jerusalem,  horsemen  on  a plain,  the  empty  crosses,  the  empty 
sepulchre,  and  trees,  with  strange  disregard  of  the  laws  of  perspective. 
Giovanni  was  certainly  not  a great  painter. 

Documents:  [Copied  by  Mr.  Rufus  G.  Mather.] 

1.  “+  MDXIIII 

Giovanni  dandrea  della  robia  M°  (maestro)  di  lavorare 
di  terra  e di  rilievo  de’  avere  fior,  dodici  larghi  doro 
in  oro  sono  perlla  monta  duna  piata  e altre  fighure  e 
un  festone  intorno  di  terra  ehotta  bene  ismaltate  cholorite 
ellavorate  nel  modo  efforma  fumo  dachordo  chon  detto 
Giovanni  e nel  modo  efforma  del  disegno  di  dette  e chosi  ci 
promesse  dachoro  dar  ffate  dette  ffighure  per  detto  preg(i)o 
per  insino  per  tutto  il  mese  daghosto  1514  le  quale  fighure 
s’annO'  a mettere  nellortto  di  questo  ispedale  in  uno  taber- 
liacholo  nuovamente  fatto  levato  dal  giornale  segnato  m c.  112, 
lire  84  s-  d-  ” 

[Archivio  della  Spedale  degli  Innocenti:  Scala  di  Firenze,  Serie  III,  num. 
36.  Libro  di  Debitori  e creditori,  Segnato  M,  dal  1509  al  1526.  c.  82.] 

Note.  The  few  archives  that  remain  of  the  Hospital  established  by 
Cione  Pollini  are  now  preserved  with  those  of  the  Innocenti  Hospital. 

2.  “ + MDXIIIJ 

Giovanni  dandrea  della  robia  di  chontro  de  dare 
fiorini  quatro  doro  in  oro  larghi  e soldi  quatro  picchioli 
levati  dal  giornale  segnato  m c.  113  I 28  s 4 d- 

E clde  dare  addi  xv  di  settenbre  1516  lire  nove 
et  soldi  dieci  per  lui  e di  sua  volontà  a 
bernardo  chaponi  per  una  promessa  fattagli 
per  il  detto  giovanili  della  robia  porto 


GIOVANNI  DELLA  ROBBIA 


73 


bernardo  di  L°  (Lorenzo)  Giapponi  chonttro 

levati  dal  giornale  segnato  m c.  160  1 9 s io  d- 

E dde  dare  addi  xv  di  settenbre  1515 

lire  sedici  porto  giovanili  detto  di 

chontro  per  parte  della  chagione  di 

chontro  Cam(erario)  L(orenzo)  c.  2 1 16  s-  d- 

E dde  dare  adi  xij  di  dicenbre  1515 
fiorini  uno  doro  in  oro  porto  G.  detto 

di  chonttro  Cam.  L(orenzo)  c.  6 1 7 s-  d - 

E de  dare  adi  xv  di  dicébre  lire  sei 
soldi  cinque  per  ogni  resto  delle  fighure 
aute  da  luj  per  il  tabernacolo 

dello rto  Cam.  L(orenzo)  c.  6 1 6 s 5 d- 

E de  dare  adi  per  insino  primo  di 

dicenbre  lire  dicassette  soldi  uno 

porto  giovannj  detto  di  chontro  per 

ogni  resto  delle  dette  fighure  del  ta- 

bernacholo  dellorto  per  ora  si  disse  in  questa  partita  per  resto  Cam. 
L(orenzo)  c.  4 1 17  s 1 d- 

1 84  s o dj  o 

[Idem,  c.  82.] 

Bibl.  : 

B.,  Kf.,  18,  24;  Jahrb.  Vili  ( 1887),  220-221  ; FI.  Bildh.,  333;  FI.  Se., 
200;  Buri.,  in  ; C-M.,  216  No.  67;  Ciacconius,  III,  col.  290-295,  477- 
478;  C.,  s.v.  Accolti,  Pollini;  Cr.,  238-239,  328;  M.,  D.  R.  A.,  119, 
Fig.  49;  R.  H.,  211-213;  Poggi,  Burl.  Mag.,  XXVIII,  129  note  4 
(Doc.)  ; R.,  D.  R.,  246-247;  Se.  FI,  IV,  57,  60;  Ridia,  III,  327-351; 
Rosselli,  II,  c.  879;  Supino,  450  No.  64;  Vaughan,  164-166. 

72  LAMENTATION  OVER  THE  DEAD  BODY  OF  CHRIST.  Bos- 
ton. Collection  of  Mrs.  John  L.  Gardner.  Altarpiece.  H.,  2.40m.; 
W.,  1. 60m.  Photo.,  T.  E.  Marr,  Boston. 

This  altarpiece  (Fig.  37)  was  formerly  in  the  collection  of  the  Rev.  Dr. 
Nevin,  Rome.  It  was  probably  made  for  a country  Dominican  church,  as 
we  may  infer  from  the  half  figures  of  S.  Antonio  Abate  (a  favorite  with 
rustics)  and  S.  Domenico  in  the  predella.  Between  them  is  an  elongated 
tabella  ansata  inscribed  : 

*0  VOS  ► OMNES  QVI  ► TRA(N)SITIS  ► PER  VIAM*- ATEND 
(I)TE 

ET  ► VIDETE  ► SI  EST  ► DOLOR  ► SIMILIS  ► SICUT  DOLOR 
MEVS. 


l ì.  .t  u ut..'  w (J  u W 111 


%.  

^j<OVOSOMNI-s QYT  n*AS (| ,T i-l  Jf  J^\'[A\l\n.N17n' 

r-BLO  iksfMiLissrvn-Aj^ivfl 


^InTVIDETLSI 


:sM«na 


Fig.  37. — Lamentation.  Boston,  Mrs.  Gardner’s. 


GIOVANNI  DELLA  ROBBIA 


75 


The  inscription,  except  for  the  insertion  of  the  word  similis,  is  taken  from 
the  Lamentations  of  Jeremiah  I,  12.  The  baluster  in  the  centre  was  prob- 
ably inserted  to  hide  the  juncture  of  the  two  parts  of  the  predella. 

This  altarpiece  is  a variant  of  Giovanni’s  Pietà  now  in  the  Museo  Nazio- 
nale No.  64.  The  central  group  is  doubtless  by  Giovanni’s  own  hand.  The 
types  are  the  same  as  in  the  Llorentine  example,  but  the  composition  is 
more  freely  conceived,  the  body  of  the  dead  Christ  being  more  relaxed  and 
more  livid  in  colour.  The  colouring  of  the  draperies  are  also  slightly 
changed. 

The  framework  was  probably  left  to  an  assistant  as  it  is  cruder  in  work- 
manship and  shows  changed  proportions.  So  was  doubtless  the  back- 
ground. The  pelican  is  omitted,  the  inscription  is  painted  only,  the  sun 
and  moon  are  vertical  not  inclined,  the  cross  is  broader,  the  angels  of  the 
new  type  carry  a sudarium  as  well  as  the  spear  and  sponge,  the  skull  and 
cross  bones  are  introduced  beneath  the  cross,  the  landscape  is  quite  differ- 
ently conceived,  and  finally  every  figure  in  the  relief,  whether  important 
or  unimportant  is  given  a halo. 

Bibl.  : 

M.,  D.  R.  A.,  1 19-120,  Lig.  48. 

73  PIETÀ.  New  York.  Gallery  of  E.  L.  Bonaventura  (in  1912).  Al- 
tarpiece. H.,  0.80m.  ; W.,  0.75m.  Photo.,  Private. 

This  is  an  abbreviated  variation  (Pig.  38)  of  Giovanni's  Lamentation  in 
the  Museo  Nazionale,  No.  64.  The  Madonna  wears  a yellow  halo,  a violet 
tunic,  a blue  mantle  lined  green,  and  yellow  socks.  The  Christ,  in  relaxed 
position  across  her  knees,  has  a violet  and  yellow  halo,  and  a violet  loin 
cloth.  The  cross  is  suggested  behind  the  Madonna  and  the  hill  of  Calvary 
crudely  represented.  Below  is  the  usual  inscription: 

0 VOS  OMNES-  OVE  TRANSITIS  • PER  VIAM  • ATTENDITE- 
ET  • VIDETE  • SI  EST  ■ DOLOR  • SICVT  • DOLOR  MEVS  . 

The  punctuation  marks  are  reduced  here  to  simple  dots. 

1 he  fruit  and  flower  frame,  broad  and  heavy,  is  not  subdivided  into  con- 
ventional bunches.  The  garlands  originate  at  the  top  and  fall  to  left  and 
right.  Besides  the  usual  grapes,  pine  cones,  apples,  lemons,  and  pomegra- 
nates one  sees  here  a sliced  cucumber,  green  almonds,  bean  pods,  walnuts, 
and  flowers. 

Bibl.  : 

M.,  D.  R.  A.,  120  Eig.  50. 


76 


GIOVANNI  DELLA  ROBBIA 


Fig.  38. — Lamentation.  New  York,  Bonaventura’s. 


74  PIETÀ  OR  LAMENTATION  OVER  THE  DEAD  BODY  OF 
CHRIST.  Berlin.  Kaiser-Friedrich  Museum  No.  112  (I,  160). 
Statues.  H.,  of  Madonna,  i.iom.  ; W.,  of  group  2.30m.  Photo., 
Private. 

This  group  (Fig.  39),  acquired  by  the  Museum  in  1887  from  the  owner 
of  a Villa  near  Florence,  was  originally  in  the  Monastery  of  the  Cap- 
puccini. The  figures  are  not  glazed  but  painted  in  oil.  The  Madonna  hold- 
ing across  her  knees  the  stiff  body  of  Christ  recalls  the  group’  at  Moulins 
and  enables  us  to  restore  the  full  composition  of  that  group.  In  type,  how- 
ever, neither  the  Madonna,  the  S.  Giovanni  nor  the  Maddalena  are  closely 
enough  related  to  Giovanni’s  works  to  be  certainly  attributed  to  his  own 
hand.  When  the  group  stood  in  the  church  of  the  Cappuccini  we  may 
well  believe  from  analogy  of  the  group  at  Moulins  that  it  stood  on  a pre- 
della inscribed  O VOS  OMINES,  etc. 


GIOVANNI  DELLA  ROBBIA 


77 


Fig.  39. — Lamentation.  Berlin,  Museum. 

Bibl.  : 

B.,  Jahr.  Vili  (1887),  217-223;  Ital.  PI.,  95;  Denkm.,  80;  Taf.  282; 
FI.  Bildh.,  332,  Lig.  175;  FI.  Se.,  197,  PI.  84;  Cr.,  239,  327;  Labriczy, 
Jahr.,  XXX  (1909),  Beili.,  22-23;  Mertens,  I,  No.  35;  Schottmuller 
49,  Abb.  112;  S.,  142,  Abb.  155. 


75  LAMENTATION  OVER  THE  DEAD  BODY  OF  CHRIST.  Lon- 
don. Victoria  and  Albert  Museum,  No.  8882-1862.  Group  of  statues. 
Photo.,  Museum. 


From  the  Gigli-Campana  collection,  a composition,  as  at  Moulins  and  in 
the  Berlin  Museum  consisting  of  the  Madonna  bearing  across  her  knees  the 


Fig.  40. — Lamentation.  London,  Victoria  and  Albert  Museum. 


stiff  body  of  Christ,  with  S.  Giovanni  supporting  his  head  and  the  Madda- 
lena his  feet  (Fig.  40).  Unglazed  and  unpainted.  The  types  appear  to  be 
Giovanni’s  although  more  animated  than  usual.  A new  motive  is  found 
in  the  Madonna’s  raising  the  lifeless  hand  of  the  Christ. 

Bibl.  : 

B.,  Jahrb.,  VIII  (1887),  219;  FI.  Bildh.,  330;  FI.  Sc.,  199;  Fab- 
riezy,  /.  k.  p.  K.,  XXX  (1909),  45  No.  173. 


78  GIOVANNI  DELLA  ROBBIA 

76  THE  KNEELING  MADDALENA.  London.  Victoria  and  Albert 
Museum.  Statue.  H.,  0.95m. 

Almost  a replica  of  the  Maddalena  in  the  unglazed  Pietà  in  the  same 
museum. 

Bibl.  : 

B.,  FI.  Bildh.,  331;  FI.  Se.,  199;  Robinson,  109,  No.  4499;  Fabriczy 
/.  k.  p.  K.,  XXX  (1909),  45  No.  174. 

77  LAMENTATION  OVER  DEAD  CHRIST.  Fiesole.  La  Doccia 
(Villa  Cannon). 

In  1414  Niccolò  Davanzati  erected  below  Fiesole  a retreat  for  Fra  Fran- 
cesco da  Scarlino,  who  in  turn  raised  the  funds  for  the  church  which  was 
dedicated  to  S.  Michele  Arcangelo.  In  i486  the  Frati  Minori  Osservanti 
came  into  possession,  established  a monastery  and  chapel  in  the  wooded 
estate  and  retained  control  until  their  suppression  in  1808.  The  monas- 
tery is  now  the  Villa  Cannon. 

On  the  road  leading  to  the  monastery  was  once  an  altarpiece  represent- 
ing the  Lamentation  over  the  dead  Christ.  It  is  now  gone,  but  in  1869 
D.  Maccio  described  it  as  representing  the  Virgin  Mary  seated  by  the  cross 
carrying  on  her  lap  the  dead  Christ  between  S.  Francesco  and  S.  Michele 
Arcangelo.  This  description  suggests  a composition  like  that  in  the  Monte- 
doglio  Chapel  at  La  Verna  or  at  S.  Salvatore  al  Monte,  perhaps  of  simpler 
character.  Its  present  whereabouts  is  not  known. 

Bibl.  : 

Burl.,  1 14;  Carocci,  I,  m-112;  C-M.,  233  No.  177;  Maccio,  30. 

78  LAMENTATION  OVER  THE  DEAD  BODY  OF  CHRIST.  La 
Verna.  Monastery.  Cappella  Montedoglio.  Altarpiece.  H.,  3m.; 
W.,  2.15m.  Photos.,  Alinari,  9825a;  Agostini,  576. 

In  the  loggia  between  the  Chiesa  Maggiore  and  the  Stimate  is  found  the 
Cappella  Montedoglio  known  also  as  the  Cappella  della  Pietà.  The  chapel 
was  begun  by  Conte  Francesco  Montedoglio  in  honour  of  his  patron  saint 
S.  Francesco  in  1532  and  completed  after  his  death  by  his  wife  Alessandra. 
It  is  adorned  with  the  altar  of  the  Pietà  or  Lamentation  over  the  Dead 
Body  of  Christ  (Fig.  41). 

The  central  group  of  S.  Giovanni,  the  Madonna,  the  Dead  Christ,  and 
the  Maddalena  are  almost  a replica  of  Giovanni  della  Robbia’s  Pietà  of  the 
year  1514  now  in  the  Museo  Nazionale,  No.  64.  The  body  of  Christ  is 


GIOVANNI  DELLA  ROBBIA 


79 


slightly  more  relaxed,  but  all  the  types  remain  the  same.  S.  Giovanni  is 
robed  in  blue  with  mantle  of  violet-brown  lined  green,  the  Madonna  wears 
a blue  mantle  over  a violet  brown  robe,  the  flesh  of  the  Christ  is  a livid 
green,  while  the  Maddalena  is  in  yellow  with  mantle  of  green  lined  blue. 
Behind  them  stand  S.  Lrancesco  in  light  gray,  S.  Michele  holding  his  sword, 


Fig.  41. — Lamentation.  La  Verrà,  Monastery. 

S.  Antonio  of  Padua  also  in  gray,  and  S.  Girolamo  in  brown  lined 
green.  In  the  background  is  an  extremely  ill  proportioned  cross  inscribed 
^DNJ'RJ'D  on  a scroll  and  scourges  hanging  from  either  end  of  the 
cross.  It  may  be  noted  also  that  the  golden  sun  and  silver  moon,  with  their 
hard,  spike-like  rays,  have  no  sympathy  with  the  scene  of  sorrow  portrayed 
below. 

The  frame  is  composed,  as  Giovanni  might  have  directed  it,  with  poly- 
chromatic garlands  in  triplex  bunches  separated  by  fluttering  ribbons  ris- 
ing from  blue  dolphin  handled  vases  decorated  with  scales,  interlacings 
and  godrons.  The  predella  consists  of  five  reliefs  separated  by  pilasters 
decorated  with  candelabra.  The  terminal  reliefs  contain  the  Montidoglio 
arms  : Argent,  an  eagle  displayed  azure.  The  central  reliefs  represent  the 


8o 


GIOVANNI  DELLA  ROBBIA 


Annunciation,  the  Nativity,  and  the  Adoration  of  the  Magi.  The  Annun- 
ciation is  manifestly  influenced  by  Benedetto  da  Maiano’s  composition  in 
the  church  of  Montoliveto,  Naples. 

Bibl.  : 

Beni,  360;  C-M.,  256  No.  326;  Cr.,  358;  M.,  Sc.  Mag.,  1893,  69 7; 

R.  H.,  287-288;  Mencherini,  70,  134-136;  R.,  D.  R.,  247;  Sc.  FI.  IV, 

60;  Vas.,  II,  198. 

79  LA  MADDALENA.  Boston.  Museum  of  Fine  Arts.  Half  figure. 

H.,  0.35m.  Photo.,  Private. 

This  was  once  part  of  a statuette  of  the  Maddalena  like  that  which  Ag- 
nolo di  Polo  made  in  1495  for  the  Ospedale  della  Morte  at  Pistoia;  but 
less  Verrochiesque  and  almost  certainly  from  the  hand  of  Giovanni 
della  Robbia  (Fig.  42).  She  once  carried  a box  of  ointment.  This  has 
now  broken  away  and  only  the  book  remains.  Both  symbols  are  borne 
by  La  Maddalena  in  the  Pulci  Chapel  altarpiece  in  S.  Croce,  but  here  the 
type  is  less  gracious,  more  akin  to  the  Maddalena  in  the  Entombment  lun- 


Fig.  42. — La  Maddalena.  Boston,  Museum  of  Fine  Arts 


GIOVANNI  DELLA  ROBBIA 


81 


ette  in  S.  Salvatore  al  Monte.  Like  the  latter  it  was  unglazed,  although 
originally  it  may  have  received  a coating  of  oil  paint.  It  came  to  the 
Museum  from  the  collection  of  the  late  Charles  C.  Perkins. 

Bibl.  : 

M.,  D.  R.  A.,  120  Fig.  51. 

80  LA  MADDALENA.  London.  Victoria  and  Albert  Museum. 
Bust.  Photo.,  Thompson. 

Unglazed  bust.  Similar  to  the  unglazed  La  Maddalena  in  half  figure  in 
Boston  Museum  of  Fine  Arts. 

81  S.  MARIA  MADDALENA.  Paris,  Heilbronner  Galleries.  Statu- 
ette. H.,  0.84m.;  W.,  0.50m. 

Nudes  unglazed.  Tunic  green,,  with  neck  border  and  sleeve  bands  un- 
glazed, girdle  blue;  mantle  brown  lined  yellow.  She  holds  a box  in  her 
left  hand,  her  right  is  against  her  breast. 

82  THE  IMMACULATE  VIRGIN  AND  SAINTS.  1514.  Poggibon- 
si  (near).  S.  Lucchese.  Altarpiece  H.,  3.36m.;  W.,  2.25m.  Photo., 
Lombardi,  1778. 

This  altarpiece  (Fig.  43)  in  a church  named  S.  Lucchese  near  Poggi- 
bonsi,  in  general  construction  follows  that  at  S.  Medardo,  Arcevia.  It  issued 
from  Giovanni  della  Robbia’s  studio  one  year  later. 

The  predella  indicates  that  it  was  presented  by  Dacldo  di  Tommaso  di 
Simone  Calcagni  and  his  wife  Tommasa  di  Gabriele  Riccobaldi,  since  at  the 
dexter  end  are  the  Calcagni  arms  : Argent,  a hound  salient,  azure,  col- 
lared gules,  and  at  the  sinister  end  the  Riccobaldi  arms  : Vert,  three  estoiles 
or,  2 and  1,  divided  by  a fess  of  the  same.  Daddo  Calcagni  was  married  to 
Tommasa  Riccobaldi  in  the  year  1503.  Besides  the  coats  of  arms  the 
predella  has  reliefs  representing  (1)  S.  Francesco  receiving  the  stigmata, 
(2)  S.  Bonaventura  with  staff  and  book,  cardinal’s  hat  and  mantle  adorned 
with  cherub  heads,  (3)  the  Annunciation,  (4)  S.  Lodovico  da  Tolosa,  with 
staff  and  book,  in  a mantle  adorned  with  fleurs-de-lys,  and  (5)  S.  Antonio 
of  Padua  preaching  to  the  fishes.  These  saints  were  specially  cherished  by 
the  Osservanti. 

The  figured  decoration  of  the  altarpiece  relates  to  the  Immaculate  Con- 
ception of  the  Virgin.  In  the  central  niche  is  S.  Anna,  robed  in  brownish 
violet,  with  mantle  of  blue  lined  green,  presenting  the  immaculate  infant 


./  ' ll 


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31  Jr 

1* IG-  43-  1 he  Immaculate  Conception.  Poggibonsi,  S.  Lucchese. 


GIOVANNI  DELLA  ROBBIA 


83 

Virgin  arrayed  only  with  a golden  crown  and  necklace.  She  stands  on  a 
pedestal  adorned  with  sphinxes  and  garlands  with  a tabella  ansata  inscribed  : 

QVI  ELVCIDANT  ME 
VITAM  ETERNAM 
HABERVNT + 

The  sides  of  the  niche  are  decorated  with  the  cube  pattern,  as  at  Arcevia, 
and  its  background  with  the  familiar  Robbia  tile  pattern.  The  conch  con- 
tains an  image  of  God  the  Father  blessing  and  holding  an  open  book  in- 
scribed A n surrounded  by  brownish  violet  and  blue  winged  cherubs.  It  has 
a coffered  vault  and  an  archivolt  adorned  with  fruit  garlands  meeting  at 
the  top. 

To  the  left  is  S.  Francesco  robed  in  greenish  gray,  holding  a yellow 
cross,  a book  and  a scroll  inscribed:  VIRGO  ALT(ISSIMA)  REGINA 
P0L(0)R( V)M  CAPE  VOTA  PRECANTIS.  He  is  somewhat  older 
than  the  S.  Francesco  in  the  altarpiece  of  the  Last  Judgment  at  Volterra. 
Above  him,  separated  by  a Greek  maeander  is  a medallion  framed  in  egg 
and  dart  moulding  with  cherub  heads  at  the  four  angles.  In  it  is  a poly- 
chromatic bust  of  S.  Ambrogio  holding  a scroll  inscribed 
• HEC  • EST  • VIRGA  • IN  ■ OVA  • NEC  • NODVS 
ORIGINALIS  : NEC  • CORTEX  ■ VENIALIS  ■ CVLPE  • FVIT 
This  inscription  is  attributed  to  S.  Ambrogio  in  the  altarpiece  of  the  Im- 
maculate Conception  in  the  Pinacoteca  at  Empoli. 

To  the  right  is  S.  Antonio  of  Padua  robed  in  gray  holding  a violet  flame, 
a book  and  a scroll  inscribed 

y CVNO(VE)  • TVO  • NATO-  SIS-  MEMOR- 
ALMA  • SVI  + 

Above  the  niche  in  which  he  stands  is  a medallion  with  a bust  of  S.  Agos- 
tino, in  polychromatic  episcopal  robes,  holding  a scroll  inscribed  : 
y SVP(ER)  CVNCTOS  • RESERVASTI  ■ 

EAM  ■ AB  OMNI  ■ LABE  • PECCATI  • 

The  four  pilasters  are  similarly  decorated  with  grotteschi — a new  ar- 
rangement of  patterns  used  already  by  Giovanni  della  Robbia.  On  one  the 
date  remains  AN(N)0-  S(ALVATORIS)  • M-D-XIIII. 

The  entablature  is  elaborately  decorated  as  elsewhere  in  Giovanni's 
works,  the  frieze  of  grotteschi  as  in  the  Madonna  della  Cintola  at  S.  Gio- 
vanni Valdarno,  and  the  architrave  and  cornice  as  at  Lamporecchio  ( 1524). 
Above  the  entablature  the  praise  of  the  Virgin  is  continued  by  (1)  putti 
playing  on  the  tambourine,  cithara,  pipe,  and  psaltery  and  (2)  by  David 
and  Solomon  with  scrolls  inscribed 

QVERETVR  PECCATA  ILLIVS 
NO(N)  INVENIETVR  + (Ps.  X,  15) 


GIOVANNI  DELLA  ROBBIA 


84 
and 

TOTA  PVLCRA  ■ ES  ■ AMICA 

MEA-  ET  MACVLA  NO(N)  EST  IN  TE  (Song  of  Solomon,  IV,  7). 
In  the  lunette  framed  by  cherubs  is  represented  the  last  of  the  glorious 
mysteries— the  Coronation  of  the  Virgin.  God  the  Father,  in  violet  brown 
with  mantle  of  blue  lined  green  places  a golden  crown  on  the  head  of  the 
Virgin  who  is  robed  in  brownish  violet  with  a mantle  of  pure  white  lined 
with  green.  Above  the  lunette  is  a blue  vase  filled  with  fruit.  The  sur- 
rounding background  consists  of  the  Robbia  tile  pattern  beneath  loops  of 
a mustard  yellow  curtain  here  set  upside  down. 

Bibl.  : 

B.  J-,  95-96;  B.,  Kf.,  19,  25;  A.  S.  A.,  II  (1889),  2,  Note  1;  Brogi, 
Inv.  420-421  ; C-M.,  244  No.  238;  Cr.,  352;  M.,  R.  H.,  214;  Del  Mig- 
liore, Ms.  in  Bibl.  Magliabec.  Classe  XXVI,  Cod.  131,  c.  139;  Prioristà 
Ridolfi,  s.v.  Calcagni;  Vas.,  II,  198. 

83  S.  ANNA  HOLDING  THE  MADONNA  AND  CHILD.  Berlin. 
Kaiser-Friedrich-Museum,  old  No.  134.  Statuette.  H.,  0.47m. 

This  polychromatic  statuette  was  accpiired  in  1828  from  the  Bertholdi 
collection  and  is  not  mentioned  in  Fraulein  Schottmiiller’s  catalogue.  Anna 
wears  a violet  mantle  edged  with  yellow.  On  her  lap  is  seated  the  Madonna 
in  violet  robe  edged  yellow  and  mantle  of  blue  lined  green.  The  nude  Child 
is  seated  on  a yellow  cushion.  Nudes  unglazed. 

Bibl.  : 

Bode  and  Tschudi,  44  No.  134;  C-M.,  262  No.  362;  Cr.,  333;  Tieck- 
Gerhard,  No.  628;  Tieck,  81. 

84  CHERUB  HOLDING  TAMBOURINE.  Florence.  Galleria  Buon- 
arroti. Statuette.  H.,  c.  0.50m.  Photo.,  Alinari,  3537. 

This  musical  cherub  (Fig.  44)  may  have  been  designed  for  the  summit 
of  some  altarpiece  and  could  have  occupied  a position  similar  to  that  of  the 
flute  playing  putto  at  S.  Lucchese  near  Poggibonsi,  or  possibly  it  was  in- 
tended as  an  independent  genre  figure,  in  which  case  he  could  have  been 
seated  more  comfortably  than  on  the  console  now  used  for  this  purpose  in 
the  museum.  His  eyes  have  linear  black  upper  lashes  and  large  pupils  with 
no  irises. 

Bibl.  : 

Cr.,  340. 


GIOVANNI  DELLA  ROBBIA 


85 


Fig.  44. — Musical  Cherub.  Florence,  Galleria  Buonarroti. 

85  TWO  GARLAND  BEARING  PUTTI.  Lucca.  Museo  Civico. 
Statuettes.  H.,  0.60m.  Photos.,  Alinari,  8361-8362. 

These  two  seated  putti  (Figs.  45,  46)  were  long  conserved  in  a building 
belonging  to  the  Dominican  monastery  at  Lucca,  which  was  used  as  a store 
house  for  the  archives  of  the  Notaries.  They  were  possibly  designed  to 
decorate  the  top  of  some  large  altarpiece.  They  are  not  reclining  as  in  the 
case  of  the  ciborium  in  SS.  Apostoli  or  the  lavabo  in  S.  Maria  Novella,  but 
seated  back  to  back,  probably  on  either  side  of  a vase  as  on  the  lunette  of 
the  altarpiece  at  S.  Lucchese,  Poggibonsi. 

They  show  ruffled  and  flat  golden  hair,  the  irisless  eyes  and  rings  of  fat 
on  legs  and  arms,  signs  of  Giovanni's  modelling.  The  altarpiece  for  which 
these  were  designed  must  have  been  one  of  his  masterpieces. 

Burl.,  67,  C-M.,  236  No.  195;  S.,  143,  Abb.  163. 

86  MADONNA  DELLA  CINTOLA  AND  SAINTS,  c.  1514.  S.  Gio- 
vanni Valdarno.  Oratorio  della  Madonna  della  Grazie.  H.,  2.85m.; 
W.,  2.80m.  Photo.,  Alinari,  9841. 

Over  the  entrance  door  of  the  Oratorio  delle  Madonna,  founded  in  1484 
is  an  Assumption  by  Giovanni  della  Robbia,  which  dates  from  about  1514 


86 


GIOVANNI  DELLA  ROBBIA 


Fig.  45,  46. — Garland  bearing  Putti.  Lucca,  Museo  Civico. 


(Fig.  47).  It  was  probably  the  joint  gift  of  Bartolommeo  di  Rosso  Buon- 
delmonti  and  of  Jacopo  Salviati.  At  the  dexter  end  of  the  predella  are  the 
Buondelmonti  arms,  here  displayed:  Per  fess  azure  (in  chief),  and  argent 
(in  base),  a cross  gules  on  a mount  of  six  tops  azure.  The  Salviati  arms 
at  the  sinister  end  of  the  frame  are:  Argent , bendy  bretisse  gules.  Both 
Bartolommeo  and  Jacopo  were  relatives  of  the  Pope.  After  Leo’s  trium- 
phal entry  into  Florence,  Nov.  30,  1515  Jacopo  Salviati  had  the  right  to 
display  in  his  arms  a Medici  palla  and  the  letters  L X.  The  rest  of  the 
predella  is  filled  with  grotteschi — the  same  composition  repeated  five  times — 
of  the  pattern  used  in  the  frieze  of  Giovanni's  altarpiece  at  S.  Lucchese  near 
Poggibonsi. 

In  a recess  or  niche  the  Madonna  is  seen  in  a rayed  mandorla,  which  is 
supported  by  four  angels  or  archangels  clad  in  blue,  green,  violet  and  yel- 
low and  with  polychromatic  wings  (the  colours  horizontally  striated).  She 
is  robed  in  lilac  with  a mantle  of  pure  white  lined  green,  and  wears  a large 
cross  hanging  from  her  neck.  Cherubim  above,  below,  and  at  either  side. 
Below  her  in  a landscape,  partly  plastic,  chiefly  painted  only,  is  a sarcopha- 
gus panelled  blue  with  yellow  rosettes  and  filled  with  lilies  and  roses.  In 
front  of  it  on  their  knees  are  S.  Giovanni  Battista,  patron  saint  of  the  town, 
in  yellow  haircloth  and  violet  lined  green  mantle,  S.  Tommaso  rohed  in 
green  with  violet  mantle,  awaiting  the  descent  of  the  girdle,  and  S.  Lorenzo, 
patronymic  saint  of  the  then  reigning  Lorenzo  di  Medici,  in  diaconal  robe 
of  green  elaborately  ornamented  with  palmette  and  scrolls,  holding  a hook 
and  a green  palm  branch.  Near  S.  Lorenzo  is  a black  gridiron. 

The  frame  of  the  niche,  on  its  inner  face,  displays  at  the  top  the  out- 


GIOVANNI  DELLA  ROBBIA  87 

spread  arms  of  God  the  Father,  the  Holy  Dove  separated  by  cherub  heads 
from  musical  angels  with  tambourines,  cymbals,  pipes,  or  wreaths,  and  ar- 
rayed in  yellow,  violet  or  green.  On  its  outer  face,  between  a guilloche 
and  egg  and  dart  moulding,  there  spring  from  a blue  vase  on  each  side  gar- 


Fig.  47. — Madonna  della  Cintola.  S.  Giovanni  in  Valdarno. 

lands  of  rectangular,  triplex  bunches  of  fruit,  flowers,  and  wheat,  sepa- 
rated or  fastened  by  blue  ribbons  tied  in  horizontal  bow  knots,  against  a 
white  background. 

Bibl.  : 

B.  J.,  82;  Burl.,  117;  C-M.,  250  No.  283;  C.,  s.v.  Bondelmonti,  Sal- 
viati;  Cr.,  354;  M.,  R.  H.,  195-197;  Demmin,  219;  Ditta,  II,  s.v.  Buon- 
delmonte,  Tav.  1 1 ; von  Rumohr,  II,  296  note. 

87  FOUR  ANGELS  SUPPORTING  A MANDORLA.  Cologne, 
Kunstgewerbe  Museum.  Lunette. 

The  Madonna  della  Cintola  at  S.  Giovanni  in  Valdarno  was  the  proto- 
type from  which  the  lunette  at  Cologne  is  an  abbreviated  study.  The  frame 


GIOVANNI  DELLA  ROBBIA 


is  similarly  constructed  with  egg  and  dart  and  guilloche  mouldings  enclos- 
ing garlands  of  triplex  bunches  of  fruit  and  flowers  separated  by  transverse 
ribbons  and  rising  from  blue  vases.  Against  a blue  sky  appears  a yellow 
mandorla  or  gloria  radiata  from  which  the  Madonna  has  been  abstracted. 
She  could  be  restored,  however,  from  the  lunette  at  S.  Giovanni.  Here 
also  at  the  top  and  base  of  the  mandorla  is  a cherub  head,  and  between  them 
four  Verrocehian  supporting  angels  with  horizontally  striated  wings  and 
garments  of  blue,  green,  yellow  and  violet.  Evidently  from  Giovanni’s 
atelier  about  1514. 

Bibl.  : 

Cr.,  336;  Fabriczy,  A.  N.  A.,  Ill  (1890),  162;  Springer,  III,  71, 
Fig.  83. 

88  MADONNA  DELLA  CINTOLA.  Volterra.  Seminario  a S.  An- 
drea in  Postierla.  Fragment  of  altarpiece.  Photo.,  Brogi,  13045. 

These  almost  unnoticed  fragments  (Fig.  48)  are  from  an  altarpiece  said 
to  have  been  presented  to  the  monastic  church  of  S.  Andrea  by  some  de- 
scendant of  Guelfuccino  Mannucci  of  Volterra  who  was  a great  benefac- 
tor of  this  Olivetan  monastery  in  the  year  1417,  as  is  recorded  on  a tablet 
beneath  his  portrait  in  the  sacristy  of  the  church.  Beneath  the  relief  is  a 
medallion  containing  the  Mannucci  (or  possibly  the  Pulci)  arms:  Argent , 
three  pallets  gules. 

The  central  composition  should  be  restored  after  comparison  with  the 
altarpiece  at  S.  Giovanni  Valdarno  by  the  addition  to  the  foreground  of 
two  kneeling  saints,  possibly  S.  Andrea  and  the  patronymic  saint  of  the 
donor,  a landscape  background  and  an  appropriate  frame.  As  at  S.  Giovan- 
ni Valdarno  the  supporting  angels  are  robed  in  blue,  green,  violet  and  yel- 
low; the  Virgin’s  mantle  however,  is  not  pure  white  but  covered  with  Rob- 
bia pavement  pattern.  S.  Tommaso,  robed  in  blue  edged  yellow  with  a 
mantle  of  violet  lined  green,  recalls  in  type  the  archangel  Gabriele  in  the 
Annunciation  of  the  Casa  Sorbi,  Florence.  Faces  and  hands  of  all  the 
figures  are  unglazed.  The  white  sarcophagus  is  panelled  in  blue  and  deco- 
rated with  yellow  rosettes. 

Bibl.  : 

C.,  s.v.  Mannucci,  Pulci;  M.,  R.  H.,  197;  Repetti,  V,  819;  Ricci,  Vol- 
terra, 143,  145. 

89  THE  ASSUMPTION  OR  THE  MADONNA  IN  GLORY.  Ash- 
bridge  Park,  Apsbridge  House.  Lord  Brownlow.  Lunette.  W., 
1.85m.  Photo.,  The  Connoisseur. 

This  lunette  represents  the  Madonna  in  a mandorla  radiata  of  mustard 
yellow.  Two  cherubs  only,  one  above,  one  below.  Two  supporting  angels. 


GIOVANNI  DELLA  ROBBIA 


89 


Fig.  48. — Madonna  della  Cintola.  Volterra,  S.  Andrea. 


90 


GIOVANNI  DELLA  ROBBIA 


All  figures  are  white  against  blue  background.  The  angels  may  have  been 
cast  from  the  same  mould  as  those  at  S.  Giovanni  Valdarno,  but  the  Ma- 
donna is  different,  more  like  the  Madonna  in  Glory  of  the  Campo  Santo  at 
Pisa.  She  sits  with  folded  hands  on  a throne  of  clouds  and  is  not  letting 
down  a girdle.  There  is  no  S.  Tommaso  below. 

The  frame  consists  of  pendent  garlands  of  fruit  and  flowers  arranged  in 
a series  of  contiguous,  triplex  bunches.  At  the  top  is  a coat  of  arms,  quar- 
tered (i)  and  (4)  vairy,  gules  and  argent,  (2)  and  (3)  argent,  a rod  bend- 
wise,  or  beribboned  azure.  Mr.  R.  G.  Mather  writes  that  (1)  and  (4)  may 
be  the  arms  of  the  Tori  family  of  Siena  (Blasone  Senese,  III,  52). 

Bibl.  : 

Gregory,  The  Connoisseur,  XIII  (1906),  4,  7;  M.,  R.  H.,  197. 

90  THE  TEMPTATION  OF  ADAM.  1515.  Baltimore.  Collection 
of  Mr.  Henry  Walters.  Rectangular  altarpiece.  H.,  2.70m.  ; W., 
2.08m.  Photo.,  Private. 

In  1884  this  altarpiece  (Fig.  49)  was  in  the  hands  of  a Florentine  dealer, 
Angelo  Capelli,  in  the  Via  Borgo  Ognissanti.  Then  it  figured  in  the  Le- 
long  collection,  Paris,  until  Dec.  1902  when  it  was  purchased  by  Mr.  Wal- 
ters. What  its  history  may  be  is  unknown,  except  so  much  as  may  be  in- 
ferred from  the  monument  itself.  The  inscription  suggests  a change  of 
purpose.  We  may  presume  that  it  was  originally  intended  to  bear  only 
the  trivial  rhyme  ADAM  PRIMVS  HOMO  E)A(M)NAVIT  SECMVLA 
(sic)  POMO,  but,  as  an  afterthought,  was  made  a memorial  of  the  trium- 
phal entry  of  the  Medici  Pope  Leo  X into  Florence  and  the  inscription  ad- 
ded in  another  hand, 

y LEO  ► PON(TIFEX>  MAX(IMVS>  INGRES(S)VS^ 
EST  ► ELORENTIA(M)^  XXX  ► D(IE) 

We  note  that  Leo  X is  written  Leo  Xs  (for  Decimus),  and  that  the  final 
word  was  probably  intended  for  DIE,  here  represented  by  the  letter  D con- 
taining the  letter  P.  It  may  be  recalled  that  the  triumphal  entry  of  Leo  X 
into  Florence  occurred  on  the  30th  day  of  November  1515.  Unfortunately 
space  was  insufficient  for  the  date  in  full. 

The  predella  appears  to  have  been  designed  after  the  change  in  purpose, 
for  it  contains,  in  the  centre,  the  Papal  tiara  and  a gold  and  silver  key  above 
a shield  containing  the  Medici  arms,  Or,  six  balls,  one  azure,  five  gules,  in 
orie;  at  the  dexter  end  is  the  Buondelmonti  (?)  stemma;  Azure,  a mount 
of  six  tops  or  surmounted  by  a cross  gules;  at  the  sinister,  the  Salviati 
stemma:  Argent,  bendy  bretisse  gules,  in  chief  are  the  letters  L and  X 
gules  between  a palla  azure,  a badge  of  honour  presented  to  Jacopo  Salviati 


GIOVANNI  DELLA  ROBBIA 


91 


. \ f A.  ! . È \ i-  . ' ^ .X  i 


\ PO  M 


INCRFSVS EST FUOTl-l XXVilA  D A IV 


JRIbLIf*  ’Igt  - ? 4 

A4  . IB 

jgCT.  ■- 

i <u&|  '.  jp® 

B 1 

Fig.  49. — The  Temptation.  Baltimore,  Walters’  Collection. 


92 


GIOVANNI  DELLA  ROBBIA 


who  was  then  Gonfaloniere.  Similar  honours  are  found  on  the  Spina,  Ot- 
taviani  and  other  arms.  The  two  donors  appear  to  have  been  Bartolom- 
meo Buondelmonti  and  Jacopo  Salviati. 

Bartolommeo  di  Rosso  Buondelmonti  married  Alessandra  daughter  of 
Guglielmo  de’Pazzi  and  of  Bianca  di  Piero  de’Medici  in  1483  and  in  1489 
paid  Andrea  della  Robbia  for  a lunette  now  in  the  Museo  dell’Opera  del 
Duomo.  The  Salviati  here  indicated  was  probably  Jacopo  Salviati  whose 
mother  Lucrezia  de’Medici  was  the  Pope’s  sister,  and  who  himself  was  the 
recipient  of  many  favors  from  the  Pope.  His  son  Giovanni  was  made  a 
cardinal  in  1513. 

The  central  composition  of  Adam  and  Eve  in  the  Garden  may  have  been 
inspired  by  Albrecht  Diirer’s  well  known  print  of  1504  which  was  copied  in 
Italy  by  Marcantonio  in  1510  or  1512.  The  introduction  of  a white  dove, 
green  parrot,  yellowish  squirrel,  and  dark  coloured  owl  and  blackbird  sug' 
gest  the  compositions  of  Giovanni  della  Robbia.  The  Eve,  with  yellow 
hair  is  quite  as  Giovanni  might  have  designed  her,  but  the  Adam  is  more 
advanced  in  modelling  and  his  head  more  classic  in  type  than  we  should 
have  expected.  His  right  arm  appears  to  be  modern.  His  eyes  are  col- 
oured in  violet,  the  irises  being  left  white.  He  is  very  different  in  type 
from  the  Adam  which  Giovanni  designed  for  the  Certosa.  The  female 
head  of  the  serpent  is  however  essentially  the  same  in  both  cases. 

The  mouldings,  pilasters,  and  decorations  of  the  predella  may  be  paral- 
leled in  Giovanni’s  works.  The  frame  of  the  central  relief  appears  un- 
finished. Originally,  as  in  the  Casa  Sorbi  relief,  it  probably  had  at  the  top 
a frieze  corresponding  to  that  of  the  sides.  These  are  composed  in  alter- 
nately long  and  short  panels  decorated  with  bunches  of  fruit  dos-a-dos  or 
with  yellow  rosettes  on  blue  ground,  a reflection  of  Andrea’s  composition  in 
the  vault  of  the  Cathedral  porch  at  Pistoia  (1505).  The  yellow  outlines 
of  the  frame  are  also  characteristic  of  Giovanni’s  atelier. 

Note. — The  date  Nov.  30,  1515  given  by  Vaughan,  Roscoe  and  others  is  the  date  usually 
given  for  the  triumphal  entry  of  Leo  X into  Florence.  Mr.  Rufns  G.  Mather, 
however,  sends  me  the  following  quotation  from  a Barberini  Ms.  in  the  Vatican  which 
gives  the  date  as  Dec.  13,  1515.  The  citation  is  interesting  as  explaining  how  a Salviati 
came  to  have  the  Medici  palla  and  the  letters  L and  X in  his  coat  of  arms. 

Bibl.  Vat.  Fondo  Barberino,  Lat.  No.  5002.  Memorie  per  la  Storia  Fiorentina- 

Anonimo.  p.  IV. 

“1515.  Addi  13  Dice(m)bre  entrò  in  fir(en)ze  Papa  Leone  con  18  Card(ina)li,  e 

molti  Principi  secolari  e ecclesiastici  con  tutta  la  corte  di  Roma  p(er)  la  Porta  a 

S.  P.  Gattolini  con  gra(n)d(issi)ma  pompa,  e honore,  andò  a S.  M.  del  fiore,  e si  ritirò 
alla  sua  habitazione  a S.  M.  Novella;  et  il  terzo  giorno  si  partì  p(er)  Bologna  p(er) 
ricevere  il  Re  di  fra(n)cia  che  veniva  p(er)  renderli  obidienza.  E il  22  d(ett)o  tornò 
a fire(n)ze  et  il  giorno  di  Natale  cantò  la  Messa  in  S.  M.  del  fiore  e dette  la  sua  Arme 
al  Gonfaloniere  e lo  fece  Conte  Palatino,  e anco  li  suoi  successori,  et  alli  Sig(no)ri 
Priori  dette  una  palla  della  sua  Arme,  e concesse  privelegii  de  Conti  Palatini  a tutti 
li  Podestà  di  firenze.  Stette  in  firenze  sino  a febbraio,  che  si  partì  p(er)  Roma  li  8 


GIOVANNI  DELLA  ROBBIA  93 

febb(rai)o  1515,  dove  giunto  concesse  p(er)  sue  Bolle  alla  Republica  che  potesse  porre 
le  Decime  sopra  li  Beni  ecclesiastici.” 

Bibl.  : 

Ancisa,  MM.,  c.  465;  C-M.,  230;  C.,  s.v.  Buondelmonti,  Salviati;  P.  de 
Grassis,  quoted  by  Roscoe,  I App.  I,  II;  Lelong,  31;  Litta,  Buondel- 
monti; M.,  D.  R.  A.,  1 1 1-116,  Fig.  45  ; Vaughan,  144;  Roscoe,  I,  33-37. 

91  A MIRACLE  BY  S.  BENEDETTO  (?).  Florence.  Museo  Nazio- 
nale, No.  54.  Rectangular.  H.,  0.86m.;  W.,  1.15m. 

This  rectangular  relief  is  said  to  represent  a miracle  by  S.  Benedetto. 
It  does  not  suggest  any  of  the  compositions  representing  the  life  and  mira- 
cles of  S.  Benedetto,  as  listed  by  Mrs.  Jameson,  in  her  Legends  of  the  Mon- 
astic Orders,  pp.  18-24.  S.  Benedetto,  is  moreover,  usually  robed  either  in 
black  or  altogether  in  white.  Here  is  to  be  seen  a monk  clad  in  a white 
tunic  and  black  mantle — the  Dominican  costume.  He  is  accompanied  by 
two  acolytes,  one  carrying  bread,  the  other  a fiasco  of  wine.  These  em- 
blems are  about  to  be  presented  to  a knight,  in  pale  blue  with  a green  cloak, 
attended  by  armed  men  and  a woman.  Their  faces  are  glazed  in  flesh 
tones.  The  sky  is  light  blue.  The  relief  is  framed  with  garlands  of  fruit 
separated  by  bows  of  blue  ribbon.  At  each  angle  is  a yellow  rosette.  The 
conventions  are  those  of  Giovanni  della  Robbia. 

Bibl.  : 

Burl.,  hi;  Cr.,  339;  Supino,  448  No.  54. 

92  THE  VISION  OF  S.  BERNARDO,  c.  1515.  Rome.  Vatican. 
Sala  Borgia.  Round-headed  relief  on  console.  H.,  1.22m.  ; W.,  0.70m. 
Photo.,  Brogi,  16411. 

This  composition  (Fig.  50)  is  based  on  Filippino  Lippi’s  Vision  of  S. 
Bernardo  in  the  Badia.  The  wearied  Saint  was  writing  his  homilies  on  a 
rustic  desk  when  the  Blessed  Virgin,  the  subject  of  his  writings,  appeared 
before  him  and  strengthened  him.  The  poses  of  the  saint,  the  Virgin  and 
of  the  four  angels  are  essentially  the  same  in  the  relief  and  in  the  painting. 
Behind  the  saint  may  be  recognized  the  Devil  in  a cave,  and  on  the  rocky 
background  a dove,  a stag,  and  squirrels.  A grove  of  conifers  against  the 
blue  sky  completes  the  landscape.  The  angels  clad  in  violet,  blue,  yellow 
and  white  with  their  horizontally  striated  wings  are  such  as  Giovanni  della 
Robbia  was  accustomed  to  portray.  The  Virgin,  as  we  might  expect,  is 
robed  in  violet  edged  yellow  and  wears  a mantle  of  blue  lined  green.  S. 
Bernardo,  the  patron  saint  of  the  Cistercians,  is  robed  in  white.  The  book 


94 


GIOVANNI  DELLA  ROBBIA 


Fio.  50. — The  Vision  of  S.  Bernardo.  Rome,  Vatican. 


before  him  is  inscribed  ECCE  VIRGO.  Another  book  opened  against  the 
rocks  displays  the  text  from  Isaiah  VII,  14  and  Luke  I,  31,  ECCE  VIRGO 
CONCTPIES  ET  PARI(E)S  FILIVM  (ET)  VOCABIS  NOMEN 
(El VS  IESVM).  As  these  words  were  spoken  by  the  angel  of  the  An- 
nunciation, S.  Bernardo  may  be  presumed  to  be  writing  his  homily  De 
Beata  Maria  Vergine  (Migne,  Patr.  No.  691). 

The  frame  shows  within  egg  and  dart  and  rope  mouldings  a garland 


GIOVANNI  DELLA  ROBBIA  95 

composed  of  triplex  bunches  of  fruit  separated  by  transverse  blue  bows 
of  ribbon  and  terminating  in  a medallion  with  the  monogram  Y BI  S. 

The  console  with  blue  cornucopias  of  polychromatic  fruit  and  wheat 
enclosing  a wreath  with  coat  of  arms  is  not  unlike  the  console  of  the  taber- 
nacle dated  1515  in  the  same  apartment  of  the  Vatican.  The  coat  of  arms: 
Per  fess,  gules  (chief)  and  or  (base)  may  be  either  that  of  the  Paoli  of 
Siena  or  of  the  Simonetti  or  Benozzi  families  of  Florence. 

Bibl.  : 

Cr.,  353;  Farabulini,  Atti  di  Accad.  Rom.  pont.  di  archeologia,  \ ol. 
IX;  Jameson,  Leg.  M011.  Orders,  144;  M.,  R.  H.,  173-174. 

93  SEATED  MADONNA  AND  CHILD.  Prague.  Collection  of  Herr 
Adalbert  von  Lanna.  Tabernacle.  H.,  1.18m.  ; W.,  0.65m.  Photo., 
Sale  Catalogue. 

The  prototype  of  this  Madonna  was  formerly  in  the  von  Beckerath  Col- 
lection, thence  passed  to  the  Berlin  Museum,  No.  72  (I.  2939).  1 he 

Prague  example  (Fig.  51),  like  that  in  the  Victoria  and  Albert  Museum,  is 
a subsequent  replica.  It  was  apparently  executed  in  Giovanni's  atelier,  as 
is  indicated  by  the  frame  similar  to  that  of  the  Vatican  tabernacle  of  1 5 1 5 . 
Beneath  the  central  relief  is  a tablet  inscribed 

y REGINAM  y VENERARE 
POLI  y REGEMO  (VE)  J PRECA(N)DO 
POSTO  (VAM)  y PRECES  y TVVM 
CARPE  y VIATOR  y ITER  + 

Bibl.  : 

M.,  L.  D.  R.,  Nos.  1 17-120;  Sammlung  Lanna,  II,  76  No.  581,  Taf. 

40. 

94  MAGALOTTI  CIBORIO,  c.  1515.  Florence.  Museo  Nazionale, 
No.  77.  IT,  2m.;  W.,  0.82m.  Photo.,  Alinari,  2779;  Brogi,  9502. 

This  ciborio  (Fig.  52)  is  representative  of  a series  which  emanated  from 
the  atelier  of  Giovanni  della  Robbia.  It  came  in  1868  from  the  house  of 
the  Fathers  of  the  Oratory  of  S.  Filippo  Neri,  an  annex  to  the  church  of 
S.  Firenze.  It  of  course  antedates  the  Oratory,  founded  only  in  1624  by 
Pietro  Bini.  Filippo  Neri  himself  was  not  born  until  1515. 

The  console  between  two  blue  cornucopias  of  fruit,  flowers,  and  wheat, 
contains  a wreath  of  fruit  enclosing  a shield  with  the  combined  arms  of 
Filippo  Magalotti  and  of  Cassandra  di  Giuliano  Maria  di  Jacopo  Rinuccini, 


g6 


GIOVANNI  DELLA  ROBBIA 


Fig.  51.— Madonna.  Prague,  von  Lanna  Collection. 


who  were  married  on  Oct.  15,  1506.  The  dexter  arms  are  those  of  the 
Magalotti  family:  Barry  sable  and  or,  in  chief  gules  LIBERTA(S)  or. 
The  sinister  arms  are  those  of  the  Rinuccini  : Argent,  a bend  fusilly  azure, 
in  chief  a label  gules. 

Above  the  console  enclosed  in  an  architectural  moulding  is  a tabella 
ansata  (the  Disk  enclosed  in  a fruit  garland  in  the  centre)  probably  once 
inscribed  Hie  est  panis  vivas  qui  de  celo  descendit.  Above  this  two  pilas- 
ters adorned  with  heavy  bunches  of  fruit  from  blue  dolphin  handled  vases 


GIOVANNI  DELLA  ROBBIA 


97 


fraine  in  the  sportello  disclosed  by  two  curtain  lifting  angels  who  admit  the 
Holy  Dove,  who  pours  out  yellow  tongues  of  fire.  The  Papal  tiara  beneath 
the  vault  is  unusual.  We  are  tempted  to  think  that  it  may  reflect  the  Flor- 
entine pride  in  Leo  X,  who  made  his  triumphal  entry  into  Florence  in 
1515.  A similar  ciborio  in  the  Borgia  apartments  bears  the  date  1515. 


Fig.  52. — Magalotti  Ciborio.  Florence,  Museo  Nazionale. 


The  entablature  is  decorated  with  the  cherub  and  garland  and  disk 
frieze,  above  which  is  Giovanni’s  customary  lunette  with  the  Christ  Child 
on  a yellow  chalice  adored  by  angels. 

Note. — The  exact  date  of  the  marriage  of  Filippo  Magalotti  to  Cassandra  Rinuccini, 
Oct.  15,  1506,  is  found  in  the  Fondo  Barberino  Cod.  Lat.  2672.  Sec.  XVII,  Familiae 
Florentinae  alphabetico  ordine  dispositae,  p.  119.  Copied  from  the  Gabella  di  Contratti 
Libro  B 157,76. 


98 


GIOVANNI  DELLA  ROBBIA 


Bibl.  : 

Burl.,  in;  C-M.,  218  No.  75;  C.,  s.v.  Magalotti,  Rinuccini;  Cr.,  340; 
M.,  R.H.,  244-245  (Doc.)  ; Del  Migliore,  570;  Pucci,  Fam.  Magalotti 
(Carte  Pucci  in  Arch,  di  Stato,  Florence)  ; Rosselli,  Sepoltuario,  I, 
c.  586;  Supino,  453  No.  77. 

95  GINORI  CIBORIO.  Florence.  Museo  Nazionale  (not  on  exhibi- 
tion). Photo.,  Museum. 

This  tabernacle,  (Fig.  53),  incomplete  in  part,  is  preserved  in  a closet 


Fig.  53. — Ginori  Ciborio.  Florence,  Museo  Nazionale. 


GIOVANNI  DELLA  ROBBIA  99 

and  is  not  exhibited  to  the  public.  It  resembles  the  Magalotti  ciborio-, 
Museo  Nazionale,  No.  77,  and  was  apparently  made  at  the  same  time. 

The  console  bore  between  two  white  cornucopias  of  fruit  a wreathed  me- 
dallion with  the  Ginori  arms  : Azure,  a bend  or  charged  with  three  stars 
of  eight  points  of  the  first.  Above  the  console,  the  base  of  the  ciborium, 
similar  to  that  of  the  Magalotti  tabernacle,  is  inscribed 
y HIC  ► EST  ► PA(N)IS  VIVVSQ(VI)  DE  CELO  DESCE(N)DIT. 
The  pilasters,  cornice,  lunette  and  central  sportello  differ  but  slightly  from 
those  of  the  Magalotti  tabernacle. 

Bibl.  : 

M.,  R.H.,  246. 

96  TWO  CIBORI  A.  Florence.  S.  Michele  in  Palchetto  o delle  Trombe, 
later  S.  Elisabetta  or  Congrega  di  Preti  della  Visitazione  (formerly). 

According  to  Ridia  there  were  two  tabernacles  at  the  sides  of  the  high 
altar,  decorated  with  garlands  of  fruit  and  flowers.  Like  the  lunette  these 
are  likely  to  have  come  from  the  atelier  of  Giovanni  della  Robbia.  Pos- 
sibly one  of  these  tabernacles  appeared  in  the  Davanzati  sale  in  New  York, 
Nov.,  1916. 

Bibl.  : 

Richa,  VIII,  268. 

97  CIBORIO.  Florence.  Cav.  Carlo  M.  Girard.  16  Via  degli  Orti 
Orieellari.  Photo.,  Private. 

The  central  relief  resembles  that  of  the  Louvre  ciborio  (No.  448),  but 
here  is  polychromatic.  Above  it  is  a lunette  of  God  the  Father  blessing 
between  two  cherubs.  The  outer  round-headed  frame  is  ornamented  with 
triplex  groups  of  fruit  and  flowers  separated  by  bows  of  ribbon.  Above  is 
the  monogram  Y H S.  Below  is  a console  with  the  pelican  group  between 
two  cornucopias  of  fruit. 

98  CIBORIO.  Borgo  S.  Lorenzo  (near).  S.  Stefano  a Grezzano. 

Described  by  Cavallucci  and  Molinier  as  a ciborium  flanked  by  two 
adoring  angels.  The  frame  has  a semi-circular  lunette  containing  a statu- 
ette of  the  Christ  Child,  a frieze  with  fine  cherub  heads,  and  a console  with 
a pelican  set  between  two  cornucopias. 

Bibl.  : 

Burl.,  1 13;  C-M.,  229  No.  146;  Cr.,  335. 


IOO 


GIOVANNI  DELLA  ROBBIA 


99  CIBORIO.  Cerreto  Guidi  (near),  S.  Maria  Assunta. 

Not  far  from  Cerreto  Guidi  in  the  village  of  Bassa,  formerly  Confienti 
or  Colle  alla  Pietà,  is  S.  Maria  Assunta,  a priory  church  dating  from  the 
XIII  century.  It  is  a branch  of  the  Pieve  at  Cerreto  Guidi.  The  ciborio 
or  tabernacle  mentioned  by  Cavallucci-Molinier  and  others  is  not  described, 
but  it  is  probably  to  be  attributed  to  Giovanni’s  atelier.  The  two  angels 
have  blue  and  green  sleeves.  In  the  lunette  is  a yellow  chalice  against  a 
blue  shell. 

Bibl.  : 

Burl.,  1 13;  C-M.,  230  No.  160;  Cr.,  336;  Repetti,  s.v.  Cerreto  Guidi. 

100  BUONAFEDE  CIBORIO.  New  York.  Bardini  Sale  of  1918. 

This  ciborio  (Fig.  54)  follows  the  model  set  by  Giovanni  della  Robbia 
in  the  tabernacles  in  Rome  (Borgia  apartments),  Paris  (Louvre)  and  else- 
where. The  lunette  should  be  amplified  by  a second  adoring  cherub.  The 
Christ  Child  standing  on  the  chalice  was  omitted.  The  frieze  appears  to  be  a 
substitute  for  a cherub  and  garland  frieze.  The  sculptor  further  strayed 
from  Giovanni’s  example  in  varying  the  capitals  of  the  pilasters  and  in 
ornamenting  the  pilasters  with  garlands  of  fruit  hanging  from  rings.  The 
scalloped  kite  shaped  shield  bears  the  arms  of  the  Abbot  Leonardo  Buona- 
fede : Or,  a bull  rampant  gules  on  a mount  of  six  summits  vert;  an  Abbot’s 
mitre  above  the  shield. 

Bibl.  : 

Bardini  Sale  of  1918,  Cat.,  No.  373;  M.,  R.  H.,  227-228. 

101  CIBORIO.  New  York.  Davanzati  Palace  Sale.  Nov.  21,  1916. 

H.,  1.90m.;  W.,  0.92m.  Photo.,  Private. 

Very  similar  to  one  in  the  Museo  Nazionale  No.  77.  The  sportello  con- 
tains a figure  of  S.  Michele  slaying  the  Dragon,  on  which  account  I have 
suggested  that  it  may  have  been  one  of  the  two  tabernacles  in  S.  Michele 
in  Palchetto  mentioned  by  Richa.  The  console  bears  a coat  of  arms  be- 
tween cornucopias  of  fruit. 

Bibl.  : 

Davanzati  Sale,  Cat.,  No.  114;  Richa,  VIII,  268. 


GIOVANNI  DELLA  ROBBIA 


IOI 


Fig.  54. — Buonafede  Ciborio.  Bardini  Sale  of  1918,  N.  Y.  C. 


102 


GIOVANNI  DELLA  ROBBIA 


102  CIBORIO.  Oliveto  (near  Rignano).  S.  Niccolò.  H.,  1.50m.; 

W.,  0.75m. 

A tabernacle  of  the  Panzano  type  with  pilasters  decorated  with  fruit  gar- 
lands. Here,  however,  the  console  bears  the  Altoviti  arms  : Sable , a wolf 
rampant.  The  base  above  the  console  is  also  inscribed  Hie  est  panis  vivus 
q(ui ) de  celo  descendit. 

We  may  note  that  the  stemma  of  Francesco  di  Guglielmo  di  Bardo  Alto- 
viti  occurs  in  Robbia  ware  at  Lari  in  1524,  and  at  Certaldo  in  1525. 

Bibl.  : 

C.,  s.v.  Altoviti;  M.,  R.  H.,  247;  P.,  16-22,  Wills,  125. 

103  CIBORIO.  Panzano.  S.  Leolino.  H.,  1.80m.  ; W.,  0.69m.  Photo., 

Private. 

Designed  for  the  Sacred  Host,  but  reserved  for  Extreme  Unction  (Fig. 
55).  Console  adorned  with  leafy  and  floral  scrolls;  pilasters  with  candel- 
abra designs  like  those  of  the  predella  with  saints  in  niches  in  the  Museo 
Nazionale  No.  69;  central  relief  with  sportello  now  inscribed  Oleum  In- 
frmorum  flanked  by  two  angels  beneath  a coffered  vault,  with  curtains, 
Dove  and  Disk;  entablature  with  frieze  of  cherub  heads  and  garlands; 
lunette  with  Christ  Child  on  yellow  chalice  (flanking  angels  are  absent) 
tframed  with  the  usual  rosette  frieze. 

The  console  bears  a shield  displaying  a crutch,  the  emblem  of  the  Hospital 
of  S.  Maria  Nuova,  Florence  to  which  this  church  was  united  in  1508  un- 
der Julius  II. 

Bibl.  : 

Cr.,  350;  Del  Migliore,  355,  570. 

104  CIBORIO.  Panzano.  S.  Leolino.  H.,  1.75m.  ; W.,  0.65m.  Photo., 

Private. 

A crude  variant  of  the  S.  Filippo  Neri  tabernacle  in  the  Museo  Nazionale, 
No.  77.  The  console  here  has  the  pelican  motive  between  the  cornucopias; 
the  sportello  is  flanked  by  adoring  instead  of  curtain  lifting  angels;  the 
papal  tiara  is  omitted  ; and  at  the  base  of  the  console  in  an  oval  shield  is  the 
crutch,  emblem  of  the  Hospital  of  S.  Maria  Nuova,  to  which  this  church 
was  united  in  1508. 


Cr.,  350;  Del  Migliore,  355,  570. 


GIOVANNI  DELLA  ROBBIA 


103 


Fig.  55. — Ciborio.  Panzano,  S.  Leolino. 


105  CIBORIO.  Paris.  Louvre  No.  448  (G.  751).  H.,  1.66m.;  W„ 

o.66m.  Photo.,  Alinari,  22382. 

From  the  Sauvageot  Collection  (Fig.  56).  The  console  shows  two 
white  cornucopias  with  polychromatic  fruit,  flowers,  and  wheat,  between 
which  is  a pelican  feeding  her  brood  with  her  own  blood.  Blue  back- 
ground. Above  are  pilasters  decorated  with  grotteschi  (two  patterns), 
dolphin  capitals.  Before  the  sportello  two  adoring  angels  on  a tiled  pave- 
ment beneath  a coffered  vault  from  which  parted  curtains  reveal  the  Holy 


104 


GIOVANNI  DELLA  ROBBIA 


Fig.  56. — Ciborio.  Paris,  Louvre. 


Dove.  The  entablature  has  cherub  and  garland  frieze,  the  lunette  a blue 
shell  against  which  appears  the  youthful  Christ  on  a yellow  chalice  blessing 


GIOVANNI  DELLA  ROBBIA 


105 

and  holding  a green  crown  of  thorns.  He  is  adored  by  angels.  Frame 
of  lunette  has  a frieze  with  rosette  pattern,  acroteria  with  yellow  palmettes. 

Bibl.  : 

C-M.,  278  No.  452;  Cr.,  350;  Marryatt,  9. 

106  FRAGMENT  OF  A CIBORIO.  Paris.  Louvre  No.  449  (old  No. 
G.  752).  H.,  0.27m.;  W.,  0.15m.  Photo.,  Alinari,  22382. 

From  the  Sauvageot  collection.  A fragment  from  the  left  side  of  a 
ciborio  or  tabernacle  for  the  eucharist,  showing  a group  of  three  angels. 
Glazed  white. 

Bibl.  : 

C-M.,  278  No.  451  ; Cr.,  350. 

107  CIBORIO.  Pescina.  S.  Stefano. 

A tabernacle  for  the  eucharist.  I noted  that  it  was  similar  in  style  to  the 
altarpiece  formerly  in  the  same  church.  Probably  a replica  of  the  ciborio 
in  the  Sala  Borgia  of  the  Vatican  (1515). 

Bibl.  : 

C-M.,  253  No.  306. 

108  CIBORIO.  1515.  Rome.  Vatican.  Sala  Borgia.  H.,  1.80m.  ; 
W.,  0.87m.  Photos.,  Alinari,  11875;  Brogi,  16413. 

In  general  similar  but  inferior  to  the  tabernacle  in  the  Louvre  No.  448 
(Fig.  57).  We  may  note  that  the  console  shows  in  a wreath  the  stemma 
del  Capitolo,  a cherub  head,  that  the  pilasters  similar  in  design  are  in- 
scribed AN(N)0  DO(MINI)  M'D'XV  As  on  Nov.  30  of  this  year 
Leo  X entered  Florence  as  Pope,  possibly  this  tabernacle  was  a gift  to  him 
from  the  Opera  of  the  Cathedral. 

Bibl.: 

Cr.,  353- 

109  CHRIST  CPIILD  IN  A MANDORLA.  Fiesole.  S.  Ansano. 

Oval.  Photo.,  Brogi,  9827. 

The  nude  Christ  Child  (Fig.  58)  blesses  with  his  (restored)  right  hand 


io6 


GIOVANNI  DELLA  ROBBIA 


and  in  his  left  holds  a wreath  and  the  crucifixion  nails.  He  is  surrounded 
by  a mandorla  with  alternately  straight  and  flame  like  rays. 


Bibl.  : 

Carocci,  I,  n8;  C-M.,  250  No.  282;  Cr.,  344. 


GIOVANNI  DELLA  ROBBIA 


107 


Fig.  58. — Christ  Child. 
Fiesole,  S.  Ansano. 


HO  S.  AMBROGIO.  Florence.  Piazza  di  S.  Ambrogio.  Statue  in 
niche.  Photo.,  Alinari,  3697. 

On  the  corner  of  the  Via  dei  Macci  and  the  Borgo  la  Croce,  facing  the 
Piazza  di  S.  Ambrogio  is  placed  a decorative  niche  containing  a statue  of 
S.  Ambrogio  (Fig.  59). 

This  monument  contains  elements,  such  as  the  cornucopias  in  the  con- 
sole and  the  pattern  of  the  grotteschi  in  the  pilasters  similar  to  those  found 
in  the  Sauvegeot  tabernacle  in  the  Louvre  (No.  448),  assigned  to  the  year 
1515.  And  if  we  suppose  that  it  may  have  been  made  for  the  church  of 
S.  Ambrogio  we  should  naturally  think  of  a date  not  far  from  the  year 
1513  in  which  Giovanni  made  the  candelabrum  bearing  angels  and  a pre- 
della for  that  church. 

The  console  contains  between  two  blue  cornucopias  a laurel  wreath  the 
emblem  of  the  Potenza  della  Città  Rossa  di  S.  Ambrogio  ; a church  with 
campanile  argent,  set  within  a walled  town  of  three  towers  gules. 

The  grotteschi  of  the  pilasters  and  lunette  are  plastically  in  strong  re- 
lief, rendered  more  so  by  being  coloured  yellow  against  blue. 

The  saint  stands  against  a blue  fluted  shell  and  wall,  holding  a book 
(and  pastoral  staff,  modern)  and  blessing.  He  wears  a white  dalmatica, 
blue  stole  and  green  mantle,  edged  with  yellow,  lined  and  superficially  orna- 
mented with  violet.  His  face  is  of  a dark  flesh  colour  and  his  eyeballs 
plastically  as  well  as  colouristically  treated.  He  wears  a white  mitre  set 
with  gold  and  sapphire. 

Bibl.: 

Bigazzi,  13-17;  Cr.,  342;  M.,  R.  H.,  250-251. 


io8 


GIOVANNI  DELLA  ROBBIA 


Fig.  59. — S.  Ambrogio.  Florence,  Piazza  di  S.  Ambrogio. 

Ill  MADONNA  AND  CHILD  ENTHRONED  WITH  S.  GIOVAN- 
NINO. Cornocchio  (near  Scarperia).  S.  Agata.  Photo.,  Private. 

Seated  on  a throne  with  large  lateral  sphinxes  the  polychrome  Madonna 
carries  on  her  left  knee  the  nude  Child,  who  seated  on  a cushion  is  blessing 
with  his  right  hand  (Fig.  60).  On  one  knee  to  the  left  is  S.  Giovannino, 
in  dark  haircloth  with  a scroll  inscribed  ECCE  • AGNVS-  The  back- 
ground imitates  a wall  covering  of  leather. 

The  polychrome  tabernacle  has  a lunette  with  Holy  Dove  between  two 
pilasters  based  on  those  of  the  S.  Ambrogio  tabernacle,  a predella  with 


GIOVANNI  DELLA  ROBBIA 


109 

two  coats  of  arms  (1)  Azure,  or  tree  eradicated  or  and  (2)  Or,  an  eagle 
displayed  sable  and  a tablet  inscribed 

y SVB  TVVM  PRESIDIUM  CONFVGIMVS  + 

SANCTA  DEI  GENETRIX 


Fig.  60. — Madonna.  Cornocchio,  S.  Agata. 

The  console  shows  S.  Agata  enwreathed  between  two  cornucopias  of  fruit 
and  flowers. 


Bibl.  : 

Burl.,  118;  C-M.,  253  No.  309;  Cr.,  336;  M.,  R.  H.,  251. 


no 


GIOVANNI  DELLA  ROBBIA 


112  MADONNA  AND  CHILD  WITH  S.  GIOVANNINO.  Roslyn, 
N.  Y.  Collection  of  Mr.  Stanley  Mortimer.  Statuette.  H.,  0.82m. 

Nudes  and  tunic  unglazed.  The  Madonna,  wearing  a blue  mantle  lined 
green,  holds  a pomegranate,  green  with  violet  seeds,  in  her  left  hand.  On 
her  right  arm  is  the  Child,  nude,  blessing  with  his  right  hand,  his  left  in  his 
mouth.  His  hair  is  glazed  a gray  brown.  S.  Giovannino  to  the  right, 
with  hair  and  haircloth  glazed  gray  brown,  holds  a scroll  inscribed  ECCE 
AGNV(S). 

113  INSIGNIA  OF  BARTOLINI-SALIMBENI  FAMILY.  Dicomano, 
Casa  Bartolini  Salimbeni  Vivai.  Photo.,  Private. 


The  large  courtyard  stemmi,  of  which  Luca  della  Robbia  made  several 
during  the  XV  century,  were  less  in  fashion  in  the  XVI  century. 

A fine  example,  however,  may  be  seen  at  Dicomano  (Fig.  61)  set  into  a 


wall  where  it  is  surrounded  by  a painted  imitation  of  a wreath.  The  origi- 
nal garland  (Fig.  62)  fell  to  the  lot  of  the  Marchese  Torrigiani  in  whose 
palazzo  in  Florence  it  still  exists. 

The  central  medallion  shows  a combination  of  the  emblems  of  the  Medici 
and  Bartolini-Salimbeni  families  against  a plain  field.  Here  are  the  three 
Medici  feathers,  white,  red,  and  green,  the  Medici  diamond  ring,  and  motto 
SEMP(ER),  and  the  Bartolini  Salimbeni  poppies  with  the  motto  P(ER) 


Fig.  61. — Bartolini-Salimbeni  Insignia. 


GIOVANNI  DELLA  ROBBIA 


in 


NON  DORMIRE.  It  seems  not  unlikely  that  the  medallion  commemorates 
the  marriage  of  Bartolommeo  di  Andrea  di  Medici  and  Alessandra  di  Leon- 
ardo Bartolini  Salimbeni.  Bartolommeo,  known  as  II  Mucchio,  served  un- 
der the  Grand-duke  Cosimo,  I,  became  Capitano  at  Arezzo  and  later  at  Pisa, 


H,  MARCHESE  LVK3  TOWIC1AN3  \M 

rc  mWNOQ  it  HostJ  tradizioni  mrt  VT 
' mi,  AMORE  ALLE  ARTI  \ 

raccòlse  le  nvEurm:  opere  a pi tp/ra  - 

DI  ANTICHI  MAP, 'TRI 
EREDITATE  DAI  SVOI  MAGGIÓRI 
MOLTE  NE  AGCIVNSK  1)1  PROPRIO  ACQVJSTO 
i;  IN  HELL  ORDINE  IL  DISPOSE  . 

NEIJL  SAIL  DI  OVES  IO  LAI  A ZZO 

che  rv  u \ m baroni  dei,  nero 

A tVSTRO  DEI  .HA  FAMIGLIA  E A DECORO  DELLA  CITTA 


1 FTCI.I  DEVOTI  AIM  MI  MOI  PATI 
TOSERÒ  RK-O’vOM ,KVÌ  i QVESTO  iX'.ORDO 

nel  MDCCCLXXVIH 


Fig.  62. — Frame  for  the  preceding. 


and  died  in  1555.  Alessandra’s  father  was  Gonfaloniere  at  Florence  in 
1516,  her  brother  Commissario  at  Castiglione-Fiorentino  in  1494.  Another 
intermarriage  between  these  families  took  place  when  Giovenco  di  Giuliano 
de  Medici  married  Giovanna  di  Stefano  Bartolini.  Giovenco  was  Vicario 
at  Pieve  San  Stefano  in  1506. 

The  garland,  in  each  of  the  six  sections  of  which  are  found  the  seedpods 
of  poppies,  is  unusually  decorative  and  well  modeled. 

Bibl.  : 

C.,  s.v.  Bartolini,  Salimbeni,  Medici;  Litta,  VI,  s.v.  Medici,  Tav.  V, 
XVII  ; M.,  R.  H.,  219-221;  P.,  531-533. 

114  STEMMA  OF  NICCOLO  DE’PAZZI.  1516.  S.  Giovanni  in  Val- 
darno,  Palazzo  Pretorio.  Photo.,  Private. 


Within  a wreath  of  fruit,  flowers,  beans  (on  which  may  be  seen  a frog 
and  a lizard),  and  an  inner  egg  and  dart  moulding,  set  against  a white 
fluted  disk  is  a Tuscan  shield  (Fig.  63)  bearing  the  Pazzi  arms  : Azure,  two 


1 12  GIOVANNI  DELLA  ROBBIA 

dolphins  hauriant,  embowed,  addorsed  or , and  four  crosses  botonny  fitched, 
of  the  same. 


(j  Cl  O 

Below  is  a horizontal  scroll  inscribed  : 

y NICHOLO  7 DI  ME 
S(SER)  PIERO  y DI  MES(SER) 

ANDREA  y DE  PAZZ 
I V(  ICARI  )0  y MDXV  E MDXVI 
Niccolò  di  Messer  Piero  de’Pazzi  was  born  in  1462,  imprisoned  at  Volterra 
in  1478,  released  in  1480,  made  a Commissario  in  the  Val  di  Sieve  and  in 
the  Casentino,  a Prior  of  Florence  in  1509,  Consul  of  the  Mint  in  1510, 
Vicario  in  S.  Giovanni  in  Valdarno  in  1515  and  1516,  Capitano  at  Pistoia  in 
1517,  and  died  in  1519. 

Bibl.  : 

C.,  s.v.  Pazzi;  Litta,  s.v.  Pazzi,  Tav.  8;  M.,  R.  H.,  223;  P.,  146-147; 
W.,  162-164. 

115  LIFE  OF  S.  GIOVANNI  BATTISTA.  1518.  Galatrona  (near 
Montevarchi),  S.  Giovanni  Battista.  Font.  H.,  1.16m.  ; Diam., 
1.25m.  Photo.,  Alinari,  9855-9856. 

This  font  (Fig.  64)  is  in  part  a replica  and  in  part  a copy  of  the  font  of 
1 5 1 1 at  Cerreto  Guidi.  The  base  and  entablature  may  have  been  cast  from 
the  same  moulds,  greater  height  being  secured  by  the  additional  mouldings 
at  the  top.  Polychromy,  even  blue  backgrounds,  are  here  omitted.  The  pat- 
tern of  the  pilaster  decorations  are  more  complicated  and  set  in  recessed 
panels;  the  capitals  however,  remain  the  same. 


GIOVANNI  DELLA  ROBBIA 


113 

The  six  panels  here  occur  in  a different  order  and  are  not  historically  ar- 
ranged, the  order  being:  (1)  Annunciation  to  Zacharias,  (2)  The  Birth, 
(3)  Baptism  of  Christ,  (4)  The  Naming,  (5)  S.  Giovanni  in  the  Desert, 
(6)  The  Beheading.  The  compositions  are  the  same  as  at  Cerreto  Guidi, 


but  the  forms  of  the  figures  are  slenderer  and  plastic  details  have  been 
added.  In  the  scene  of  the  Baptism,  the  Dove  is  clearly  seen;  in  the  Nam- 
ing, the  pilasters  of  the  porch  have  candelabra  decorations.  The  inscrip- 
tions are  the  same,  though  with  slightly  different  spelling. 

At  the  angles  of  the  entablature  are  set  tournament  shields  bearing  the 
arms  of  Abbot  Leonardo  di  Giovanni  Buonafede  : Or,  a bull  passant  gules 

on  a mount  of  six  tops  vert.  For  the  life  of  Leonardo  Buonafede,  consult 
Ughelli,  Italia  Sacra. 

Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

1.  “Carta  227  YHS  MdXVII 


GIOVANNI  DELLA  ROBBIA 


114 


Giovanni  dandrea  dellarobbia  de  dare 
f cinque  s viij  d ij  larghi  per  tanti 


fattolo  chreditore  alibro  azurro  segnato  doro 
e ac.  254  .... 

1518  E a di  xiij  dagosto  f dua  doro  larghi  Inoro 
porto  lui  contanti  de  quali  ne  servito 
sopra  a uno  battesimo  a fare  alla  pieve 

f 5.  8.  2 lire 

di  galatrona  a uscita  ac  168/9.  2-  6 
E de  dare  per  insino  a di  xiij  daprile  1510 
f due  larghi  doro  Inoro  per  noi  da  messer 
leonardo  di  giovanili  buonafe  chome 
apare  al  suo  quadernucio  ac  61  posto 
deto  messer  leonardo  a uscita  alibro 

f 2-lire 

Roso  segnato  g ac  367 
E a di  xiiij  di  gienaro  1520  f uno  largo 
doro  Inoro  porto  marcilo  suo  figluolo 

f 2- 

chontanti  a uscita  g ac  240 
E a di  xxviiij  daprile  1521  1 iij  s x 
picc.  porto  marche  suo  figluolo  chontanti 

f 1- 

a uscita  h ac  8 

f-IO 

E a di  30  di  deto  1 iij  s x picc.  porto 
marcho  suo  figluolo  chontanti  a uscita 
h ac  8 

f-IO 

f 13.2.6” 

[Archiv.  di  S.  Maria  Nuova,  Libro  Giallo  (1516-1518)  segnato  F.  c. 
227.] 

2.  “Carta  ccxxvii.  YHS  MDNVII 

giovanili  di  contro  de  avere  per  tanti 

posto  dare  alibro  ']'  (crutch,  emblem  of  hospital  of  S.  Maria  Nuovo)  secondo 


[Idem,  idem,  ccxxvii.] 

f 13.2.6” 

Bibl.  : 

Bacci,  III.  Fior.,  1908,  144-149  (Doc.),  Carloni,  Dall'Arno  al  Tebro; 
C-M.,  233  No.  182;  Cr.  232,  344;  M.,  Sc.  Mag.,  XIV  (1893),  692, 
697;  R.  H..  227-229;  A.  J.  A.,  XXII  (1918)  373  (Doc.);  Ughelli. 
Italia  Sacra,  I,  col.  629,  VII,  col.  867. 

116  LIFE  OF  GIOVANNI  BATTISTA.  S.  Piero  a Sieve  (near  Borgo 
S.  Lorenzo).  Pieve,  S.  Piero.  Hexagonal  font.  H.,  i.nm.  ; Diam., 
i.ióm.  Photo.,  Alinari,  9859. 


GIOVANNI  DELLA  ROBBIA 


II5 

This  font  (Fig.  65)  is  a repetition  of  the  Galatrona  font  of  1517.  White 
with  details  touched  with  yellow.  At  the  angles  of  the  entablature  are  the 
Medici  arms:  Or,  five  torteaux  in  orle,  in  chief  a palla  with  the  Croce  del 
Popolo  ( Argent  a cross  gules). 


Fig.  65. — Font  at  S.  Piero  a Sieve. 


The  Medici  family  owned  a tower  in  the  vicinity  and  had  at  one  time  the 
exclusive  patronage  of  the  church. 

Bibl.  : 

Burl.,  1 18;  C-M.,  252  No.  302;  Cr.,  232,  355;  Marcotti,  373;  M., 
R.  H.,  230;  Repetti,  V,  108. 

117  CHRIST  AND  SAINTS  IN  NICHES.  Galatrona  (near  Monte- 
varchi).  S.  Giovanni  Battista.  Hexagonal  ciborio.  IT,  2.20m. 
Photo.,  Alinari,  9858. 

Ibis  ciborio  (Fig.  66)  appears  also  to  have  been  the  gift  of  the  Ab- 
bot Leonardo  Buonafede,  judging  from  his  coat  of  arms  near  the  base: 


n6 


GIOVANNI  DELLA  ROBBIA 


Or,  a bull  passant  gules  on  a mount  of  six  tops  vert.  Like  the  font  it  is 
finished  in  white  enamel.  In  form  it  perhaps  was  inspired  by  Benedetto  da 
Maiano’s  ciborium  in  S.  Domenico,  Siena.  The  lowest  base  on  which  it 
reposes  is  ornamented  by  a rich  decoration  of  rosettes  and  palmettes  within 
scroll  work,  a pattern  which  Giovanni  used  again  in  the  altarpiece  of  1520 
now  in  the  Campo  Santo,  Pisa.  Then  follows  a block  decorated  with 
cherub  heads  and  garlands,  and  a vase-like  support  on  which  rests  the  hexa- 
gonal body  of  the  ciborium.  This  is  ornamented  at  the  angles  by  doubled 
pilasters  (candelabra  panels,  dolphins  capitals)  which  frame  a series  of 
niches  containing  (1)  the  sportello,  then  statuettes  of  (2)  S.  Leonardo,  the 
Abbot’s  patron  saint,  with  his  emblem,  shackles,  (3)  S.  Giovanni  Battista, 
patron  of  the  church,  (4)  Christ  with  cross  and  emblems  of  his  body  and 
blood,  (5)  S.  Girolamo  with  his  lion,  and  (6)  S.  Maria  Maddalena. 

Above  a characteristic  entablature  is  a hexagonal  cupola  adorned  with 
a scale  ornament  and  surmounted  by  a block  ornamented  with  a blind  ar- 
cade and  supporting  a superstructure  and  cross  of  wood. 

Bibl.  : 

Burl.,  1 14  ; C-M.,  234  No.  184  ; Cr.,  344  ; R.  H.,  229. 

118  TWO  CANDELABRUM  BEARING  ANGELS.  Galatrona  (near 
Montevarchi).  S.  Giovanni  Battista.  Statuettes.  H.,  0.56m.  Photo., 
Alinari,  9858. 

These  angels  (Figs.  67-68),  at  one  time  set  on  brackets  on  either  side  of 
the  statue  of  S.  Giovanni  Battista,  were  probably  intended  for  the  position 
they  occupy  in  Alinari’s  photograph.  The  ciborio  here  replaces  the  an- 
cona or  altarpiece  and  the  angels  are  set  on  either  side  of  it.  In  type  they 
resemble  the  candelabrum  angels  in  S.  Ambrogio  and  at  Arcevia  (both 
1513),  but  have  slightly  more  complex  draperies  and  each  wears  a cross 
on  the  breast. 

Bibl.  : 

C-M.,  234  No.  184. 

119  BASE  FOR  STATUETTE.  Florence.  Bardini  collection  (for- 
merly). Rectangular.  Photo.,  Bardini. 

The  base  set  beneath  the  statuette  of  Judith  was  evidently  made  for  an- 
other purpose  as  is  indicated  by  the  sockets  at  the  angles  of  the  upper  sur- 
face. Each  side  shows  a white  cherub  head  above  a polychromatic  gar- 


Figs.  66-68. — Ciborio  and  Angels,  Galatrona. 

land.  A base  of  this  form  occurs  beneath  the  ciborio  of  1518  made  by 
Giovanni  della  Robbia  for  Galatrona. 

Bibl.  : 

Bardini  Sale  Cat.  of  1902,  No.  515,  PI.  23;  Bardini  Sale  Cat.  of  1918 
No.  371. 


GIOVANNI  DELLA  ROBBIA 


n8  GIOVANNI  DELLA  ROBBIA 

120  S.  GIOVANNI  BATTISTA.  Galatrona  (near  Montevarchi).  S. 
Giovanni  Battista.  Statue.  Photo.,  Alinari,  9857. 

S.  Giovanni  (Fig.  69),  arrayed  in  hair  cloth  and  mantle,  white  with  yel- 
low sandals,  girdle,  and  rayed  nimbus,  is  blessing  with  his  right  hand  and 


Fig.  69. — S.  Giovanni  Battista,  Galatrona. 


in  his  left  carries  the  scroll  inscribed:  (ECC)E  AGNVS  DEL  His  eyes 

have  violet  brows,  lashes  and  pupils,  with  no  distinguished  irises.  This  is 
a representative  example  of  Giovanni’s  best  work.  He  stands  in  a niche 
within  which  are  painted  trees.  The  frame  is  distinctly  a patchwork,  pos- 


GIOVANNI  DELLA  ROBBIA 


119 

sibly  put  together  from  parts  of  an  altarpiece.  Certainly  the  base  is  no 
predella,  but  a cornice  with  cherub  heads  bearing  coloured  garlands  over 
which  are  yellow  disks,  resembling  the  cornice  of  the  altarpiece  at  S.  Me- 
dardo,  Arcevia.  The  pilasters  have  the  Siren  and  palmette  bases,  panels 
decorated  with  grotteschi  of  the  pattern  used  at  Cerreto  Guidi  and  S. 
Donato  in  Poggio,  but  lengthened  by  repeating  a portion  in  a second  panel. 
The  capitals  are  of  the  dolphin  and  vase  type  while  the  entablatures  above 
contain  Buonafede’s  stemma;  Or,  a bull  rampant  gules  on  a mount  of  six 
tops  vert.  The  archivolt  and  cherub  head  are  in  plaster. 

Bibl.: 

Burl.,  1 14;  C-M.,  234  No.  183;  Cr.,  344;  M.,  R.  H.,  229. 

121  STEMMA  OF  LEONARDO  DI  GIOVANNI  BUONAFEDE. 
Galatrona  (near  Montevarchi).  S.  Giovanni  Battista. 

A stemma  of  Leonardo  Buonafede  : Or,  a bull  passant  gules,  on  a mount 
of  six  tops,  vert,  is  said  to  have  been  executed  by  Giovanni  della  Robbia  for 
the  vault  of  the  Cappella  Maggiore  of  the  church  at  Galatrona.  It  was  sur- 
rounded with  a garland  of  fruit  and  flowers. 


Bibl.  : 

Bacci,  III.  Fior.,  1908,  148,  M.,  R.  H.,  229. 

122  PREDELLA  WITH  SAINTS  IN  NICHES.  Florence.  Museo 
Nazionale,  No.  69.  Rectangular.  IT,  0.80m.;  W.,  1.86m.  Photos., 
Alinari,  2754;  Brogi,  9471.  Casts,  Lelli,  1161. 

This  predella  (Fig.  70)  reached  the  Museo  Nazionale  in  March  1868 
from  the  suppressed  monastery  of  the  Cappuccini  of  Montaglio.  It  would 
appear  to  have  contained  originally  two  niches  more,  one  at  either  end. 

The  base,  pilasters  types,  form  of  the  niches,  statuettes,  and  entablature 
resemble  those  of  the  ciborio  at  Galatrona  sufficiently  closely  to  have  been 
cast  from  the  same  moulds.  Here,  however,  polychromatic  takes  the  place 
of  purely  white  enamel.  The  Saints  are  (1)  S.  Sebastiano,  (2)  S.  Maria 
Maddalena,  (3)  Christ,  (4)  S.  Giovanni  Battista,  and  (5)  S.  Matteo. 

Bibl.  : 

Burl.,  1 1 1 ; Carocci,  A.  I.  D.  /.,  V ( 1896) , Tav.  20  ; C-M.,  217  No.  70  ; 
Cr.,  339;  Supino,  450  No.  69. 


120 


GIOVANNI  DELLA  ROBBIA 


Fig.  70. — Predella  with  Saints.  Florence,  Museo  Nazionale. 


123  THE  LAST  SUPPER.  London.  Victoria  and  Albert  Museum, 
No.  3986-'5Ó.  H.,  o.óom.  ; W.,  1.64m.  Photo.,  Private. 

A long  table  is  spread  with  a white  cloth.  The  twelve  are  arranged  in 
groups  of  three  with  Christ  in  the  centre.  Their  tunics  are  in  general 
edged  yellow  and  their  mantles  varied  in  colour  show  reverses  variously 
coloured.  The  faces  are  tinted  to  imitate  flesh.  A dog  crouches  beneath 
the  table.  The  background  is  white  and  the  deep  frame  is  edged  with 
yellow.  Similar  in  type  to  the  predella  in  the  Museo  Nazionale,  No.  69. 

Bibl.  : 

Burl.,  120;  C-M.,  271  No.  412;  Cr.,  246;  Robinson,  67  No.  3986. 

124  CHRIST  AND  ANGELS  IN  NICHES.  Florence.  S.  Piero  Mag- 
giore (Cloister).  Rectangular.  W.,  1.18m.  Photo.,  Private. 

An  abbreviated,  also  polychromatic,  version  of  the  predella  of  the  Christ 
and  Saints  in  the  Museo  Nazionale,  No.  69.  Here  (Fig.  71)  in  the  central 
niche  is  the  Redeemer  with  cross,  chalice  and  host;  on  either  side,  also  in 
niches,  are  adoring  angels.  Crude  workmanship.  The  sections  of  the 
cornice  are  cut  from  stock  regardless  of  the  design.  This  may  very  well 
have  served  the  Confraternità  as  an  altarpiece  for  their  chapel. 

Bibl.  : 

C-M.,  212  No.  44;  Cr.,  341. 


GIOVANNI  DELLA  ROBBIA 


1 2 1 


Fig.  71. — Small  Altarpiece.  Florence,  S.  Piero  Maggiore. 

125  GRADINO  OF  ALTAR  WITH  STATUETTES.  Palaja.  Pieve  di 
S.  Andrea. 

Catalogued  without  details  by  Miss  Cruttwell,  p.  349.  Possibly  like  that 
of  S.  Piero  Maggiore,  Florence. 

126  CHRIST.  Città  di  Castello.  Montani's  (formerly).  Statuette. 

Graziani  notes,  on  the  authority  of  a painter  David  Valenti,  that  a dealer 
in  antiquities  named  Montani  had  a Robbia  statuette  of  the  Redeemer, 
holding  in  his  hand  the  cross  and  with  the  other  pointing  to  the  chalice  and 
sacred  wafer  set  below.  The  type  corresponds  with  the  representations  of 
the  Redeemer  on  the  altar  front  at  S.  Piero  Maggiore,  and  on  the  ciborio 
at  Galatrona  (1518). 

Bibl.  : 

Graziani,  153,  note  2. 

127  THE  ANNUNCIATION.  London.  Victoria  and  Albert  Museum 
No.  7235-’6o.  Round-headed  relief.  H.,  2.30m  ; W.,  1.30m.  Photo., 
Private. 

This  relief  (Fig.  72)  in  white  enamel,  acquired  in  i860,  is  to  be  classed 
with  the  works  of  Giovanni  della  Robbia  at  Galatrona  (1518)  where  we 
see  very  similar  architectural  decoration.  The  central  relief  reverses  the 
positions  of  angel  and  Virgin  customary  in  Giovanni’s  compositions  of  this 
subject.  However,  in  type  the  Annunziata  suggests  that  of  the  Virgin  in 
the  Visitation  altarpiece  at  Lamporecchio,  and  S.  Gabriele  was  evidently 


122 


GIOVANNI  DELLA  ROBBIA 


modelled  by  the  sculptor  of  the  Annunciation  on  the  exterior  of  the  Casa 
Sorbi.  The  elaborate  bedstead  and  its  decorative  motives  evidently  pro- 
ceeded from  Giovanni’s  atelier. 

Bibl.  : 

B.,  Kf.,  26;  Burl.,  120;  C-M.,  268  No.  393;  Cr.,  346;  Robinson,  68 
No.  7235.  X • C7  ' 1%*^%  f (<i^  \ 


Fig.  72. — The  Annunciation.  London,  Victoria  and  Albert  Museum. 

128  MADONNA  AND  CHILD  HOLDING  A DOVE  AND  BLESS- 
ING. New  York.  Jacques  Seligman  Galleries  (1918).  IT,  1.40m.; 
W.,  0.95m.  Photo.,  Private. 

This  Madonna  (Fig.  73)  came  from  the  monastic  church  at  Castellina, 
near  Castello,  erected  between  1500  and  1506  by  tbe  Carmelite  monks. 


GIOVANNI  DELLA  ROBBIA 


123 


In  general  composition  it  resembles  the  Madonna  of  Andrea  della 
Robbia  at  S.  Egidio,  Florence,  at  Rickmansworth  and  elsewhere.  Here  the 
Child  is  transposed  to  the  right  of  the  Virgin,  he  is  blessing  with  his  right 
hand,  as  in  the  lunette  of  S.  M.  della  Quercia  at  Viterbo,  and  one  of  the 
Madonna’s  hands  covers  his  knee. 

The  frame,  with  its  cherub  and  garland  frieze  and  the  heavy  pilasters, 
is  to  be  classed  with  Giovanni's  works  at  Cerreto  Guidi  and  Galatrona, 


Fig.  73. — Madonna.  New  York,  Seligman  Galleries. 


GIOVANNI  DELLA  ROBBIA 


124 

while  the  cherub  head  in  the  console  recalls  that  of  Lorenzo  Pucci’s  ciborio 
at  Certaldo  (1500). 

The  relief  was  once  in  the  Volpi  Galleries,  Florence,  then  at  Agnew’s, 
London,  then  at  Seligman’s,  Paris,  and  New  York  (1918). 

Bibl.  : 

Burl.,  113;  C-M.,  230  No.  156;  Carocci,  I,  201-202;  Cr.,  335;  Paris 
Herald,  April  5,  1914,  illustrated. 

129  CONSOLE  WITH  CHERUB  HEAD  AND  CORNUCOPIAS. 
Florence  (near).  Villa  Palmieri.  Photo.,  Private. 

Partially  polychromatic,  this  console  resembles  that  which  sustains  the 
Seligman  Madonna  and  Child  with  a bird. 

130  THE  ANNUNCIATION,  CANDELABRUM  ANGELS,  CHRIST 
CHILD.  Florence.  Casa  Sorbi  (Borgo  S.  Jacopo,  17).  Rectangular 
relief.  Photos.,  Alinari,  1923;  Brogi,  8550-8552. 

On  the  exterior  of  the  Casa  Sorbi  may  be  seen  a relief  representing  the 
Annunciation,  two  candelabrum  bearing  angels  which  may  originally  have 
stood  on  either  side  of  it,  a statuette  of  the  Christ  Child  blessing,  and  two 
cherub  heads.  An  inscription  set  beneath  the  Annunciation  indicates  that 
it  was  placed  in  its  present  position  by  Giuseppi  Sorbi  in  1830. 

(1)  The  Annunciation.  This  composition  (Fig.  74)  may  be  provision- 
ally assigned  to  Giovanni  della  Robbia.  The  background — a loggia  dis- 
playing through  its  openings  a plain  blue  sky  instead  of  an  elaborate  land- 
scape, its  piers  with  Brunelleschian  rather  than  dolphin  capitals,  a simple 
white  curtain  instead  of  a complicated  bedstead — -is  more  severe  and  simple 
than  we  should  expect  from  Giovanni.  S.  Gabriele  robed  in  blue  (upper) 
and  yellow  (lower),  with  polychromatic  wings,  vertically  not  horizontally 
striated,  wearing  a wreath  of  flowers  is  more  stately  than  we  should  ex- 
pect, and  yet  in  type  he  is  the  same  as  in  the  Annunciation  of  the  Victoria 
and  Albert  Museum  (No.  7235)  and  not  unlike  the  S.  Tommaso  in  the 
Cintola  fragment  at  S.  Andrea  at  Volterra.  The  Annunziata,  robed  in 
maroon  edged  white,  with  a blue  mantle  of  which  the  lining  also  is  blue, 
recalls  Giovanni’s  Madonna  in  the  lavabo  of  1497.  Faces  and  hands  are 
unglazed. 

The  frame  is  imperfectly  preserved — the  lower  portion  or  predella  being 
absent.  The  fruit  garlands  are  composed  in  triplex  branches  and  rising 
from  vases  are  set  between  two  egg  and  dart  mouldings.  The  corner  roset- 
tes are  similar  to  those  on  the  sarcophagus  of  the  Cintola  altarpiece  at  Voi- 


GIOVANNI  DELLA  ROBBIA 


125 


Fig.  74.  The  Annunciation.  Florence,  Casa  Sorbi. 


terra.  Manifestly  the  outer  stone  border  decoration  with  fleur-de-lys  is 
modern. 

(2)  The  two  Candelabrum  bearing  angels  (Figs.  75,  76),  with  their 
slashed  robes  and  horizontally  striated  wings  are  manifestly  the  product  of 
Giovanni’s  atelier. 

(3)  The  two  Cherubs,  beneath  the  Angels,  based  on  Andrea’s  prototypes, 
may  also  have  come  from  Giovanni’s  atelier. 

(4)  The  Christ  Child  blessing,  holding  a scroll  inscribed  Ego  sum  lux 
mundi,  and  the  Cherub  head  below  were  produced  in  the  same  atelier. 

Bibl.  : 

B.,  Kf.,  24;  Burl.,  108;  C-M.,  213  No.  50;  Cr.,  229-230,  326,  329,  342; 
R.,  D.  R.,  247-248;  Sc.  FI.,  IV,  58-60;  Vas.,  II,  192. 

131  CANDELABRUM  BEARING  ANGELS.  Florence.  Museo  Nazi- 
onale, Nos.  63,  66.  Statuettes.  H.,  0.45m. 

These  two  angels,  acquired  in  1867  from  the  suppressed  monastery  of 
Monte  Oliveto,  are  robed  in  blue  edged  yellow,  with  sleeves  white  and 
green.  Their  wings  are  striated  horizontally  with  various  colours.  They 
kneel  (on  either  side  of  a ciborio  or  altar)  and  hold  the  box-like  bases  of 


1 26 


GIOVANNI  DELLA  ROBBIA 


Fig.  75. — Angel.  Casa  Sorbi.  Fig.  76. — Angel. — Casa  Sorbi. 

candlesticks.  For  pose,  compare  the  candelabrum  bearing  angels  on  the 
exterior  of  the  Casa  Sorbi. 

Bibl.  : 

Burl.,  hi  ; Cr.,  33 9;  Supino,  449  No.  63,  450  No.  66. 

132  CANDELABRUM  BEARING  ANGEL.  Princeton,  N.  J.  Grad- 
uate School.  Statuette.  H.,  0.55m. 

Presented  by  Air.  Thomas  Shields  Clarke.  The  right  arm,  candelabrum 
and  end  of  wing  are  restorations.  The  Angel  kneels  on  a green  base,  wears 
a blue  lined  green  mantle  over  a white  tunic.  His  wings  are  striated  green, 
blue  and  yellow.  School  of  Giovanni  della  Robbia. 

Bibl.  : 

M„  D.  R.  A.,  128. 


1520-1530 


1520-153° 


133  ASSUMPTION  OF  THE  MADONNA,  WITH  PROPHETS 

AND  SAINTS.  1520.  Pisa.  Campo  Santo.  Altarpiece.  H.,  4m.  ; 

W.,  2.65m.  Photo.,  Alinari,  8618. 

The  design  or  model  of  this  altarpiece  (Fig.  77)  was  accepted  and  the 
contract  for  it  signed  on  August  18,  1518.  It  was  to  be  executed  in  Flor- 
ence by  Giovanni  della  Robbia  on  or  before  tbe  fifteenth  of  March  1519. 
The  monument  itself  shows  that  some  delay  occurred  as  it  bears  the  date 
1520.  It  was  designed  for  the  chapel  or  parish  church  of  S.  Marco  at  Cal- 
cesana, near  Pisa,  and  paid  for  by  the  people  of  the  parish  through  their 
representative,  or  opcrarius,  Agostino  di  Gherardo  Urbani  of  Pisa,  and  with 
the  consent  and  approbation  of  tbe  priest  or  rector  Francesco  di  Pierantonio 
of  Pontadera. 

The  central  relief,  unglazed  but  painted  in  oils,  represents  the  Assump- 
tion, not  in  the  hesitating  form  of  a Madonna  della  Cintola,  but  as  an 
achievement  in  which  the  attendant  saints  show  no  direct  concern.  Her 
sarcophagus  with  lilies  is  barely  visible  and  above  it  is  her  soul,  a diminutive 
Madonna,  in  the  air.  She  herself  sits  with  folded  hands  in  a flaming 
mandorla,  which  is  upheld  by  four  angels,  listening  to  the  music  from  the 
pipe-,  violin-,  cithara-,  and  tambourine  bearing  cherubs  about  her.  Over- 
head is  God  the  Father  with  outstretched  arms  separated  by  cberubs  from 
a group  of  prophets  among  which  may  be  recognized  (1)  David,  with 
crown  and  harp,  (2)  Jeremiah  with  a saw,  (3)  Moses  horned,  with  a book, 
(4)  John  Baptist  in  hair  cloth,  (5)  Abraham,  with  flame  and  knife,  (6) 
Jonah,  with  sea  monster,  and  (7)  Daniel,  with  a lion.  Several  carry  scrolls 
bearing  tbeir  names.  In  the  foreground  are  four  large,  standing  saints 
(1)  S.  Jacopo  Maggiore,  with  staff  and  book,  (2)  S.  Pietro,  with  his  keys, 
(3)  S.  Marco,  patron  saint  of  the  church,  with  his  lion,  and  (4)  S.  Ansano, 
with  palm  and  banner. 

The  predella  has  at  either  end  a shield  inscribed  OPE(RA),  indicating 
that  the  altarpiece  was  commissioned  by  the  Operai  of  the  church,  and  four 
reliefs  relating  to  the  standing  saints  ( 1 ) S.  Pietro  freed  from  prison  by  an 
angel,  (2)  S.  Jacopo  and  the  man  possessed  of  three  devils,  (3)  S.  Marco 
dragged  to  judgment  through  the  streets  of  Alexandria,  and  (4)  S.  Ansano, 
beheaded  and  burned. 


Fig.  77. — Assumption  with  Saints.  Pisa,  Campo  Santo. 


GIOVANNI  DELLA  ROBBIA 


131 

The  pilasters  are  broken  into  panels  showing  figures  of  S.  Gabriele  and 
the  Annunziata,  S.  Giovanni  Battista  and  S.  Antonio  Abate  with  his  pig. 
In  the  centre  of  the  pilaster  to  the  left  is  a white  disk  inscribed  TE(M) 
PORE  P(RE)SBITERI  FRANCESCI  M D XX;  that  to  the  right  is 
inscribed  AVGVSTINI  VRBANI  OP (ER)  ARIL  Above  the  usual  dol- 
phin capitals  are  abbreviated  entablatures  with  cherub  heads  and  an  archi- 
volt  with  an  arabesque  like  that  on  the  base  of  the  ciborio  at  Galatrona 
(1518).  Between  the  frame  and  the  central  relief  is  a broad  guilloche. 
The  contract  also  called  for  pendent  garlands,  a vase  at  the  top  and 
upper  and  lateral  putti.  This  would  have  given  to  this  monument  some- 
thing of  the  character  of  the  lavabo  at  S.  Maria  Novella,  but  this  feature  of 
the  design  seems  never  to  have  been  executed. 

Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

“1518  Indictione  VI  et  die  decima  octava  mensis  augusti.  Actum 
Florentie  in  p(o)p(u)lo  sancti  stephan j abbatie  fiorentini. 

Presentibus  ser  baldassare  albertj  de  bondonibus  et  ser  laurentio  vivaldj 
angeli  notar]  fiorentini  testibus,  etc. 

In  margine  : locatio  operis  . D.  C. 

Cum  sit  quod  homines  cappelle  et  sen  parrochie  sancti  marci  della  cal- 
cesana site  in  civitate  pisarum  et  etiam  infrascriptus  augustinus  operarius 
cappelle  predicte  desiderent  et  a dicta  cappella  in  et  pro  altari  maiorj  diete 
cappelle  ponere  et  sive  construere  et  sive  ponj  et  construj  facere  quandam 
tabulam  in  qua  sculpta  sit  assumptio  beate  marie  virginis  in  quodam  nube 
prout  sculpi  solent  cum  pluribus  figuris  angelorum  ut  supra  sculptorum 
circum  dictam  figuram  et  seu  imaginem  et  ipsius  beate  virginis  et  cum 
figure  seu  imagine  dei  patris  et  octo  profetarum  et  seu  patriarcharum  etiam 
et  supra  sculpta  seu  sculptis  desuper  figuris  et  seu  nubem  assumptionis  pre- 
dicte et  cum  quattuor  imaginibus  et  seu  figuris  etiam  ut  supra  sculptis  sub 
imaginibus  sanctorum  petri  jacobi  et  marci  apostolarum  dei  et  sancti  ansani 
martiris  ad  pedes  ipsius  tabule  et  cum  quodam  ornamento  et  seu  festone  et 
quodam  vase  in  capite  (lieti  festonis  et  pluribus  figuris  et  imaginibus  puero- 
rum  in  dicto  festone  desuper  et  a lateribus  diete  tabule  et  cum  predella  seu 
base  ipsius  tabule  et  columnis  et  aliis  ornamentis  ipsius  tabule  altitudinis 
anime  ipsius  tabule  computate  altitudine  predelle  et  sen  basis  predicte  brachi- 
orum  sex  et  dicti  festonis  et  vasis  ut  supra  in  capite  tabule  apponende  alti- 
tudinis brachi j unius  et  sic  in  totum  brachiorum  septem;  latitudini  vero 
ipsius  tabule  et  columnarum  et  ornamentorum  ipsius  brachiorum  quattuor 
et  unius  quarti  alterius  bracini.  Et  que  omnes  figure  et  seu  imagines  cum 
ornamentis  festone  vase  et  aliis  predictis  sint  sculpte  de  terra  cocta  ismaltata 
et  invetriate  et  adorata  ad  oleum  et  cum  coloribus  perspectis  et  auro  brunito 
et  a mordente  prout  conveniente  oportuerit  prout  apparet  pro  quoddam 


132 


GIOVANNI  DELLA  ROBBIA 


disegnum  et  seu  figuratum  de  predictis  factum  existens  penes  dictos  homi- 
nes et  seu  penes  dictum  augustinum  operarium  predictum  prout  asseruit 
prefatus  augustinus  operarius  antedictus  coram  me  notario  infrascripto  et 
testibus  supra  scriptis.  Et  cum  sit  etiam  quod  dictus  augustinus  volens  dic- 
tum opus  ad  finem  perducere  cjuesiverit  in  civitate  florent’-e  et  invenerit  in- 
frascriptum  joannem  sculp torem  idoneum  ad  predicta.  Hinc  est  quod  hodie 
hac  presenti  suprascripta  die  dictus  augustinus  gherardi  urbani  de  pisis 
operarius  et  ut  operarius  diete  cappelle  sancti  marci  alla  calcesana  de  pisis 
de  presentia  consensu  et  voluntate  presbiterj  francesci  pierantonj  del  ponta- 
dera  moderni  rectoris  diete  cappelle  presentis  et  omnj  meliori  modo,  etc., 
dictum  opus  ut  supra  perfìciendum  locavit,  etc.,  i panni  andree  della  robbia 
ci  vi  et  sculptori  fiorentino  present  j et  acceptantj.  Et  qui  joannes  sculptor 
predictus  promisit  pro  se  et  suis  heredibus,  etc.,  dicto  angustino  operario 
predicto  present j et  pro  opera  et  lavoribus  diete  cappelle  ricipientj,  etc., 
sculpsisse  dictas  figuras  et  imagines  et  dictam  tabulam  cum  omnibus  supra- 
scriptis  perfecisse  et  ad  dictam  civitatem  pisarum  et  in  loca  altaris  predicte 
posuisse  omnibus  suis  sumptibus  etiam  muramentorum  pro  predictis  faci- 
endorum  cum  materia  coloribus  ornamentis  et  auro  et  in  omnibus  et  per 
omnia  de  quibus  et  prout  supra  et  in  dicto  disegno  et  figuratione  predictis 
constat  et  apparet  per  totum  diem  XV  mensis  martii  proxime  futurj  pre- 
sentis annj  domini  1518.  Et  ex  adverso  dictus  augustinus  dictis  nominibus 
promisit,  etc.,  eidem  joannj  sculptorj  presente  et  pro  se  et  suis  heredibus 
etc.,  ricipientj,  etc.,  dare  sol  vere  et  pagare  propretio  et  premio  operis  et 
ornamentj  predicti  fiorenos  triginta  septem  auri  largos  in  auro  de  libris 
septem  florenorum  parvorum  pro  quolibet  floreno  cum  dimidio  alterius 
florenj  similis  hoc  modo  vid.  ad  presens  fiorenos  sex  et  sic  solvit  dictus 
augustinus  dictos  fiorenos  sex  aurj  largos  in  auro  d (orni) no  joannis  pre- 
sente et  ad  se  trahentj  et  totum  premium  essere  confitientj  in  presentia  mei 
notari  et  testium,  etc.,  residuum  vero  per  totani  dictam  diem  XV  mensis 
martij  proxime  futurj  et  si  dictum  opus  perfectum  erit  prius  et  immediate 
post  perfectionem  elicti  operis  predicte  si  prius  perfectum  fuerit.  Quod 
omnia  diete  partis  dictis  nominibus  promiserunt,  etc.,  attendere,  etc.,  sub  pena 
florenorum  centum  aurj  larg.  inauro  qua  pena,  etc.,  qua  pena,  etc.,  proqui- 
bus,  etc.,  etc.  Et  dictus  joannes  iuravit,  etc.,  omnia  soprascripta  observare 
etc.,  etc.  . . .” 

[Ardi,  decontratti  di  Firenze.  Rogiti  di  Gio.  Antonio  degli  Ottaviani 
da  Pulicciano.  Protocollo  dal  1511  al  1522;  Milanesi  Mise.  32  III  P c. 
387-] 


Bibl.  : 

A.eS.,  IV  (1885),  240;  B.  J„  96-97;  B„  Kf„  25;  A.  S.  A.,  II  (1889), 
2;  C-M.,  130,  194-195  (Doc.),  242  No.  229;  Cr„  237-238,  312-313 


GIOVANNI  DELLA  ROBBIA 


133 


(Doc.),  330;  M.,  Sc.  Mag.,  1893,  683;  R.  H.,  244;  Milanesi,  Mise.  32 
III  P e.  387  (Doe.)  ; Morrona,  III,  182  (2  ed.  p.  197)  ; R.,  D.  R.,  245- 
246;  Sc.  FI.,  IV,  57,  59;  Vas.,  II,  194. 

134  BUST  OF  CHRIST.  New  York  City.  Tolentino  Sale  of  1920. 

This  fine  bust  (Fig.  161)  was  formerly  in  the  collection  of  the  Marchese 
Viviani  della  Robbia  at  Settignano.  The  face  and  neck  are  unglazed  ; the 
hair  and  beard  are  glazed  yellow,  the  tunic  violet  with  yellow  border,  the 
mantle  blue  lined  green.  The  type  shows  still  the  influence  of  Verrocchio’s 
Christ  (1483)  on  the  exterior  of  Or  San  Michele,  a type  which  Giovanni 
had  freely  copied  in  the  relief  of  the  Incredulity  of  S.  Tommaso  at  Rifredi. 
It  is  probably  to  be  assigned  to  a somewhat  later  period,  perhaps  as  late  as 
1520.  It  is  altogether  to  be  preferred  to  Giovanni’s  bust  of  Christ  of  the 
Certosa  (1522). 

Bibb: 

Burl.,  60,  109;  Cr.,  234  Note  1,  330;  R.,  D.  R.,  269;  Tolentino  Sale 
of  1920,  Cat.,  no.  794. 

135  BUST  OF  CHRIST.  Paris.  Louvre,  Salle  de  Trocadero.  H., 
0.45m. 

Gift  of  M.  Georges  Berger.  The  head  unglazed.  The  robe  is  glazed 
violet,  the  mantle  blue,  lined  green.  Similar  to  the  Christ  in  the  Viviani 
della  Robbia  collection. 

136  HEAD  OF  CHRIST.  Boston.  Museum  of  Fine  Arts.  Fragment. 
H.,  0.15m.  Photo.,  B.  Coolidge,  8841. 

This  head  (Fig.  78)  thinly  glazed  is  to  be  classed  with  the  heads  of 
Christ  from  the  atelier  of  Giovanni  della  Robbia. 

Bibl.  : 

M.,  D.  R.  A.,  1 16,  Fig.  47. 

137  NOLI  ME  TANGERE.  Florence.  S.  Maria  Novella.  Cloister. 
H.,  2.40m.;  W.,  2.44m.  Photo.,  Brogi,  5638. 

Although  not  so  Verrocchian  in  character  this  relief  (Fig.  79)  is  closer 
to  Giovanni’s  stylistic  peculiarities  than  are  the  reliefs  of  the  same  subject  in 
the  Museo  Nazionale.  The  open  mouthed  cherub  head  indicates  that  it  was 
designed  as  a lavabo. 


134 


GIOVANNI  DELLA  ROBBIA 


Fig.  78. — Head  of  Christ.  Boston  Museum  of  Fine  Arts. 


FIG.  79. — Noli  me  tangere.  Florence,  S.  Maria  Novella. 


GIOVANNI  DELLA  ROBBIA 


135 


The  Maddalena,  with  yellow  hair,  yellow  robe,  violet  mantle  lined  green, 
is  on  her  knees  before  the  Christ  whom  she  mistakes  for  the  gardener.  He 
(stands  with  mattock  over  his  shoulder  and  with  raised  hands  bids  her 
Noli  me  tangere  (John  20,  11-18).  He  is  clad  in  a tunic  of  violet  lined 
yellow  over  which  is  a mantle  of  blue  lined  green.  His  hair  is  yellow.  The 
landscape  with  its  sharply  defined  trees  and  flowers  indicates  Giovanni's 
handiwork.  Overhead  are  birds  against  a light  blue  sky.  The  upper  and 
lower  portions  of  the  landscape  do  not  compose  well.  This  may  be  due  to 
a restoration.  Certainly  the  frame  has  been  reset  badly  without  reference 
to  the  direction  of  the  triplex  bunches  of  fruit  separated  by  crossing  bands 
which  issue  from  the  blue  and  violet  vases  below.  It  represents  Andrea’s 
rather  than  Giovanni’s  methods,  and  may  have  been  made  by  one  of  Gio- 
vanni’s brothers. 

Bibl.  : 

B.  J.,  89;  C-M.,  21 1 No.  33;  Cr.,  341. 


Fig.  80. — Noli  me  tangere.  Florence,  Museo  Nazionale. 


138  SAME  SUBJECT.  Florence.  Museo  Nazionale,  No.  57.  Altar- 
piece.  H.,  2.30m.;  W.,  2m.  Photo.,  Brogi,  9486. 


This  altarpiece  (Fig.  80)  came  from  the  Convento  di  S.  Onofrio,  known 
also  as  the  Conservatorio  della  Concezione  di  Foligno  in  the  Via  Faenza. 


GIOVANNI  DELLA  ROBBIA 


I36 

Like  the  preceding  it  represents  a Noli  me  tangere.  The  Maddalena  on  her 
knees,  robed  in  blue  lined  yellow  and  with  a mantle  of  yellow  lined  violet 
brown,  is  carrying  her  box  of  ointment.  Christ,  with  bared  breast  elabo- 
rately modelled,  wears  a mantle  of  blue  lined  green,  and  carries  a mattock 
over  his  shoulder.  Hence  he  is  mistaken  for  a gardener  (John  20,  15). 
He  addresses  her  “Touch  me  not;  for  I am  not  yet  ascended  to  my  Father.” 

The  background  with  its  crude  landscape,  ill  proportioned  trees  and 
plants  and  gaudy  picket  fence  link  this  with  the  Noli  me  tangere  No.  19  in 
the  same  museum. 

Bibl.  : 

B.  J.,  80;  Burl.,  in;  C-M.,  21 1 No.  38;  Cr.,  339;  Supino,  449  No.  57. 

139  JESUS  CHRIST.  Florence.  S.  Onofrio  in  Foligno. 

Demmin,  p.  218,  mentions  a “Jesus  Christ”  as  in  the  chapel  of  the  con- 
vent of  S.  Onofrio.  Can  this  refer  to  the  Noli  me  tangere  now  in  the 
Museo  Nazionale,  No.  57,  which  he  does  not  otherwise  mention? 

140  NOLI  ME  TANGERE.  Florence.  Museo  Nazionale,  No.  19. 

Round-headed  altarpiece.  H.,  2.30m.,  W.,  1.60m.  Photo.,  Alinari, 

20388. 

This  composition  (Fig.  81)  shows  the  influence  rather  than  the  hand  of 
Giovanni  della  Robbia.  Christ  does  not  draw  back  suddenly  as  in  the  relief 
at  Rifredi,  but  almost  touches  the  forehead  of  the  Maddalena,  as  if  to  as- 
sure her  of  the  reality  of  his  presence.  He  is  not  represented  as  the  garden- 
er, whom  she  supposed  him  to  lie,  but  as  the  Christ  of  the  Resurrection 
holding  the  crusader’s  banner.  She  wears  a mantle  of  blue  lined  green 
over  a yellow  robe,  and  he  a violet  brown  robe  edged  yellow,  over  which  is 
a white  mantle.  In  features  she  resembles  the  Maddalena  at  Rifredi,  and 
still  more  the  round  faced  Madonna  at  Finalpia.  The  Christ  is  semi-Ver- 
rocchian  and  semi-Angelican  in  character.  A bright  yellow  picket  fence 
takes  the  place  of  Giovanni’s  rose  covered  trellis,  and  the  trees  are  poorly 
proportioned  and  ill  defined.  A lizard,  squirrel,  owl  and  other  birds  are 
present.  The  predella  shows  three  panels  (1)  S.  Francesco  and  the  Stig- 
mata, (2)  Resurrection  of  Christ  and  (3)  The  Maries  at  the  Sepulchre. 


Bibl.  : 

Burl.,  109;  Cr.,  338;  Supino,  439  No.  19. 


GIOVANNI  DELLA  ROBBIA 


137 


Fig.  81. — Noli  me  tangere.  Florence,  Museo  Nazionale. 

141  MADONNA  AND  CHILD  IN  A NICHE.  Scandicci.  S.  Maria 
a Greve.  H.,  1.50m.;  W.,  im.  Photo.,  Private. 

The  Madonna  in  violet  brown  robe  and  a blue  lined  green  mantle  which 
has  an  ornamental  yellow  border,  is  seated  on  a yellow  throne  with  lion’s 
claw  and  acanthus  leaf  supports  (Fig.  82).  Her  mantle  is  clasped  by  a 
cherub  head  brooch.  She  holds  to  the  left  a nude  Child  standing  on  a 
cushion,  blessing  with  his  right  hand  and  holding  a bird  in  his  left.  The 
conch  above  her  head  is  violet  brown.  The  predella  is  inscribed 
y SVB  TVVM  PRESI DVM  CONFVGI 
MVS  SANCTA  DEI  GENETRIX 
The  round  headed  frame  is  capped  with  a cherub  head  from  which  hang 


GIOVANNI  DELLA  ROBBIA 


138 

to  right  and  left  garlands  of  fruit  and  flowers  arranged  in  separate  triplex 
bunches.  The  base  shows  a double  rectilinear  maeander  between  bead  and 
reel  and  egg  and  dart  mouldings. 

Bibl.  : 

Burl.,  62,  116;  Carocci,  Dint.,  II,  41 1 ; C-M.,  248  No.  266;  Cr.,  355. 


Fig.  82. — Madonna.  Scandicci,  S.  Maria  a Greve. 


142  MADONNA  WITH  NUDE  STANDING  CHILD.  Luco  in  Mu- 
gello. S.  Pietro.  Photo.,  Private. 

This  half  figure  of  the  Madonna,  clad  in  violet,  with  a mantle  of  blue 
lined  green,  holds  to  the  left  a nude  Child  who  blesses  with  his  right  hand 
and  in  his  left  holds  a bird. 

Bibl.  : 

Cr.,  347- 

143  MADONNA  ENTHRONED  WITH  DRAPED  CHILD  BLESS- 
ING. Florence.  S.  Barnaba.  Photos.,  Alinari,  36 93;  Brogi,  4728. 

This  relief  (Fig.  83),  set  over  the  door  of  S.  Barnaba,  shows  a depend- 
ence on  Giovanni’s  forms  though  lacking  his  quality.  The  Madonna,  in 


GIOVANNI  DELLA  ROBBIA 


139 


violet  robe  edged  yellow  and  a blue  mantle,  enthroned  on  an  acanthus  deco- 
rated bench,  holding  the  Child,  who  is  clad  in  a green  tunic  and  stands  on  a 
cushion  blessing,  is  not  unlike  the  Madonna  of  S.  Maria  a Greve,  Scandicci. 
The  background  is  decorated  with  a pattern  similar  to  that  of  the  Madonna 
and  Child  and  S.  Giovannino  in  the  Museo  Nazionale,  No.  44.  The  violet 


Fig.  83. — Madonna.  Florence,  S.  Barnaba. 


columns  with  spiral  flutings  are  provided  with  Giovanni’s  typical  dolphin 
and  vase  capitals.  The  base  or  predella  constructed  like  that  of  the  Maga- 
lotti  ciborium  is  inscribed  : 

7 SUB  GVBER  ( N ) ATIO  ( N ) E ARTIS  AROM AT AR ( I ) OR ( VM ) . 
The  Aromatari i were  incorporated  in  the  Guild  of  the  Doctors  and  Apothe- 
caries whose  stemma  was  a Madonna  seated  in  a Tabernacle.  Luca  della 
Robbia  executed  their  stemma  for  the  exterior  of  Or  San  Michele. 

Bibl.  : 

B.  J.,  87;  Bigazzi,  21;  B.,  Kf.,  23;  Burl.,  107;  C-M.,  206  No.  4;  Cr., 
341  ; Ridia,  VII,  57;  Vas.,  II,  191. 


GIOVANNI  DELLA  ROBBIA 


140 

144  THE  LOUR  EVANGELISTS.  1520-1521  ( ?).  Galatrona  (near 
Montevarchi),  S.  Giovanni  Battista.  Statuettes.  H.,  0.42m.  Photo., 
Alinari  9855  shows  two  of  them. 

Set  on  brackets  on  the  wall  are  four  small,  white  statuettes  of  the  Evange- 
lists, set  diagonally  on  their  bases  which  are  inscribed 
1(1)  y S(an)  • MATHEE.  • P(ROPHETA)  ET  EVA(N)GELISTA 

(2)  y S(an)  • MARCE-  EVANGELISTA 

(3)  y S(an)  • LVCA-  EVA ( N ) GELISTA 

(4)  y S(an)  ■ IHOAN(N)ES  • AP(OSTOLO)  ET  EVA(N)GELISTA 
It  is  barely  possible  that  these  statuettes  were  made  by  Giovanni’s  son 

Marco,  who  received  payments  in  1520  and  1521  in  the  accounts  con- 
cerning Giovanni  della  Robbia  and  his  work  for  Messer  Leonardo 
di  Giovanni  Buonafede  at  Galatrona.  However,  the  receiver  of  payments 
is  usually  an  agent,  not  necessarily  a co-worker. 

Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

“E  a di  xiiij  di  gienaro  1520  f uno  largo 
doro  Inoro  porto  marcho  suo  figluolo 
chontanti  a uscita  g ac.  240  f 1— 

E a di  xxviiij  daprile  1521  1 iij  sx 
picc.  porto  marcho  suo  figluolo  chontanti 
a uscita  h ac  8 f-10 

E a di  30  di  deto  1 ii  j sx  picc.  porto 
marcho  quo  figluolo  chontanti  a uscita 
h ac  8 f-10” 

[Archiv.  di  S.  Maria  Nuova,  Libro  Giallo  (1516-1518)  segnato  F.  c. 
227.] 

Bibl.  : 

Bacci,  Ili.  Fior.,  1908,  144  (Doc.)  ; M.,  A.  J.  A.,  XXII  (1918),  3 73 
(Doc.) . 

145  MADONNA  AND  CHILD  WITH  SS.  GIOVANNI  BATTISTA 
AND  GIROLAMO.  Berlin.  Kaiser-Friedrich  Museum,  113  (I. 
161).  Medallion.  Diatn.,  1.44m.  Photo.,  Private. 

This  medallion  (Fig.  84)  was  acquired  in  Rome  in  1846.  It  was  then 
entirely  white,  was  so  published  in  the  Museum’s  early  catalogues,  and  was 
still  entirely  white  when  in  1894,  I took  the  photograph  here  published. 
The  latest  catalogue  publishes  the  garland  as  polychromatic,  the  background 


GIOVANNI  DELLA  ROBBIA  141 

as  blue  on  which  are  streaks  of  golden  glory.  The  Director  had  found  this 
monument  “sehr  niichtern,”  but  now  the  compiler  of  the  official  catalogue 
calls  attention  to  the  naturalistic  colouring  of  the  fruit,  the  preservation  for 
the  most  part  of  the  gilding  in  the  background  and  describes  the  whole  as 


Fig.  84. — Madonna  and  Saints.  Berlin  Museum. 

a characteristic  work  of  Giovanni’s  about  1500!  Alas,  that  German  poly- 
chromy  should  invade  the  field  of  sculpture!  Had  it  been  left  white  it 
would  have  been  equally  characteristic,  for  at  Galatrona  there  are  several 
monuments  which  Giovanni  made  in  1518  for  Leonardo  Buonafede,  and 
there  is  a Madonna  of  1520  in  the  Seminario  at  Fiesole  very  similar  to  the 
Berlin  medallion  in  type  and  devoid  practically  of  polychromy. 

The  Madonna,  robed  in  a close  fitting  robe  covered  by  a mantle  held  to- 
gether by  a cherub  headed  brooch,  holds  on  her  lap  the  curly  haired  Child 
who,  as  usual,  is  holding  a bird  and  blessing,  but  lacks  the  customary 
cushion.  To  the  left  and  right  are  SS.  Giovanni  Battista  and  Girolamo, 
the  same  saints  that  flank  the  Madonna  in  the  altarpiece  at  Arcevia,  but 
the  types  have  changed  somewhat.  They  are  here  more  conscious  of  the 
fate  in  store  for  the  happy  Child. 

The  garland,  set  between  egg  and  dart  and  leaf  mouldings,  is  composed 


142 


GIOVANNI  DELLA  ROBBIA 


of  contiguous,  chiefly  triplex  bunches  of  fruit,  flowers  and  wheat,  with  no 
frogs,  lizards  or  other  animals.  Altogether,  the  medallion  is  an  unusually 
careful  example  of  Giovanni’s  workmanship. 

Bibl.  : 

B.,  Kf.,  26;  Ital.  PI,  95;  B-T.,  No.  129;  C-M.,  261  No.  354;  Cr.,  333; 
Schottmiiller,  48-49,  No.  113;  Tieck  Gerhard,  No.  661A;  Z.  /.  b.  K., 
XXIV  (1889),  122. 

146  MADONNA  AND  CHILD  ENTHRONED,  WITH  SAINTS. 
1520.  Fiesole.  Seminario.  Altarpiece.  H.,  2.40m.,  W.,  1.80m. 
Photos.,  Alinari,  3292;  Brogi, 19862. 

From  the  Castello  or  Palazzo  .Episcopale  at  Fiesole  this  altarpiece  (Fig. 
85)  was  transferred  to  the  Seminario.  At  that  time  doubtless  the  lunette 
was  raised  above  its  original  level  The  name  of  the  donor  Guglielmo  dei 
Folcili  and  the  date,  1520,  are  inscribed  on  the  predella  of  the  Madonna’s 
throne. 

The  central  relief  represents  the  Madonna  seated  holding  on  her  right 
knee  the  nude  child,  who  seated  on  a cushion  holds  a bird  and  is  blessing. 
Above  her  two  lily  bearing  angels  hold  a golden  crown,  beneath  which  is 
the  Holy  Dove.  The  predella  of  her  throne  shows  two  putti  upholding  a 
tabella  ansata  inscribed  : 

J GVLILEMVS  ► DE  ► FOL 

CHIS  ► EP(ISCOPV)S  ► FES  VLAN  VS  ► 

FIERI  ► FECIT  ► AN(N)0 
+ D(OMIN)I  ► M • DXX  + 

Standing  to  the  left  are  S.  Pietro,  with  keys  and  book,  and  Bishop  S. 
Donato  of  Scotland  (Duns  Scotus)  ; to  the  right  S.  Giovanni  Battista,  with 
cross  and  scroll  inscribed  ECCE  AG(N)VS),  and  Bishop  S.  Romolo  with 
the  wild  beast  at  his  feet.  Their  names  are  inscribed  below 
1(1)  PETRVS  • APPOSTOLVS  • 

(2)  S(ANCTVS)  DONATVS  DE  SCOTIA  - EP(ISCOPV(S-  FESV- 

L AN V S 

(3)  JS(ANCTVS)-  IOHANNES  BATISTA- 

(4)  J S(ANCTVS)  ROMVLVS-  EP(ISCOPV)S-  FES  VLAN  VS  ^ 
On  the  predella  at  either  end  are  the  arms  of  Bishop  Guglielmo  dei  Fol- 
cili ; Chequy  argent  and  sable,  a diminished  fess  gules,  from  which  issues 
an  eagle  argent  in  a chief  sable.  Between  them  are  scenes  relating  to  the 
saints  above  (1)  the  angel  releases  S.  Pietro  from  prison,  (2)  S.  Donato 
performs  a miracle,  (3)  The  Presepio,  (4)  The  Birth  of  S.  Giovanni  Bat- 
tista, (5)  The  Beheading  of  S.  Romolo  at  the  well. 


GIOVANNI  DELLA  ROBBIA 


*43 


The  frame  has  pilasters  decorateci  with  thick  set  bunches  of  triplex  fruit 
and  flowers  separated  by  ribbons  tied  in  horizontal  bows,  the  usual  dolphin 
capitals,  entablature  with  cherub  heads,  garlands  and  disks,  and  lunette  with 
God  the  Father  blessing  and  holding  an  open  book,  set  between  two  cherubs 
and  enclosed  in  a cherub  frame  at  the  top  of  which  again  appears  Bishop 
Folchi’s  coat  of  arms. 


Fig.  85. — Madonna  and  Saints.  Fiesole,  Seminario. 

U v <-& 

Bibl.  : 

B.,  Kf.,  24;  Burl.,  1 14;  C-M.,  232  No.  176;  C.,  s.v.  Folchi;  Cr.,  182, 
208,  309;  M.,  R.  H.,  249-250;  Perkins,  T.  S.,  I,  199;  R.,  D.  R.,  257; 
Sc.  FI,  IV,  62;  v.  Rumohr,  II,  295  note;  Vas.,  II,  193. 


144  GIOVANNI  DELLA  ROBBIA 

147  MADONNA  AND  CHILD,  AND  S.  GIOVANNINO.  Florence. 
Museo  Nazionale  No.  44.  Medallion.  Diam.,  i.iom.  Photos.,  Ali- 
nari,  2768;  Brogi,  9489. 

From  the  suppressed  monastery  of  the  Ognissanti  this  medallion  (Fig, 
86)  reached  the  Museum  on  May  9,  1866.  The  Madonna,  robed  in  dark 
violet  with  mantle  of  blue,  holds  to  the  left  the  Child,  nude,  holding  a bird, 
blessing.  He  stands  on  a cushion  of  which  a small  portion  is  glazed  white. 


Fig.  86.— Madonna.  Florence,  Museo  Nazionale. 

S.  Giovannino,  with  flaming  nimbus,  is  to  the  left.  All  nudes  unglazed. 
The  background  is  covered  with  a Robbia  pavement  pattern  done  in  blue 
and  green  against  yellow  ground. 

The  frame  has  a heavy  egg  and  dart  moulding  within  a polychromatic 
garland  composed  of  contiguous,  triplex  and  quinqueplex  bunches  of  fruit 
interspersed  with  flowers,  among  which  may  be  seen  also  a frog  and  a 
lizard. 

Bibl.  : 

Burl.,  no;  C-M.,  217  No.  72;  Cr.,  338;  Supino,  446  No.  44. 

148  S.  ROMOLO  ENTHRONED.  1521.  Fiesole.  Duomo,  over 
entrance  (interior).  H.,  1.60m.  Photo.,  Alinari,  20350. 


From  the  Castello  or  Palazzo  Episcopale  was  transferred  to  the  Cathe- 


GIOVANNI  DELLA  ROBBIA  145 

dral  the  statue  of  S.  Romolo  (Fig.  87)  and  the  Folcili  stemma  now  above 
the  entrance  door  (interior). 


S.  Romolo  is  seated  on  a throne  flanked  by  yellow  female  sphinxes,  cov- 
ered with  a white  mantle  heavily  bordered  with  yellow,  and  wearing  an 
elaborately  decorated  mitre.  He  is  blessing  and  carries  a blue  book  with 
yellow  fittings.  At  his  feet  is  a brown  beast.  Back  of  bis  head  a fluted 
blue  shell.  The  niche  is  framed  by  pendent  garlands  of  continuous  bunches 
of  fruit  and  flowers  irregularly  composed.  The  predella  is  inscribed  : 
y S(AN)C(TV)S  ► ROMVLVS  ►EP(ISCOPV) S^FESVLANVS  + 
The  stemma  of  Bishop  Folcili  above  and  the  cartello  below,  dated  1521, 
though  made  at  the  same  time  were  not  designed  to  form  a part  of  this 
monument,  which  was  probably  capped  by  the  palmette  now  below  the 


146 


GIOVANNI  DELLA  ROBBIA 


cartello.  This  palmette  is  similar  to  that  which  caps  the  frame  of  the  altar- 
piece  formerly  in  the  Via  Nazionale  (1522). 

Bibl.  : 

B.  J.,  81-82;  B.,  Kf.}  24;  Burl.,  64,  1 14 ; C M.,  232  No.  173;  Cr., 
208,  329;  M.,  R.  H.,  250;  Vas.,  II,  193. 

149  STEMMA  OF  BISHOP  GUGLIELMO  DEI  FOLCHI.  1521. 
Fiesole,  Duomo,  over  entrance  door  (interior). 

Within  a wreath  of  continuous,  irregularly  composed  fruit  and  flowers, 
on  a Tuscan  shield  set  in  a blue  fluted  disk  is  the  stemma  of  Bishop  Gugli- 
elmo dei  Folchi  : chequey  sable  and  argent,  a diminished  fess  gules  from 
which  issues  in  a chief  sable  an  eagle  argent. 

The  stemma  is  now  set  above  the  statue  of  S.  Romolo.  Below  that  statue 
is  a rectangular  tablet,  originally  connected  with  the  stemma,  inscribed  : 
y TEMPORE  ► R(EVERFN)DI  ► EP(ISCOP)I>  FESVLANI  ► 
GVLIELMI  ► DE  FOLCHIS 
ANNO  ► DOMINI  ► M>D>XX1 

Bibl.  : 

C-M.,  232  No.  173;  C.,  s.v.  Folchi;  Cr.,  329;  M.,  R.  H.,  250;  Vas. 

n,  193- 

150  FIVE  STATUETTES.  Fiesole.  Duomo. 

Milanesi  (Vas.,  II  193-194)  reports  as  in  the  Confessione  of  the  Cathe- 
dral at  Fiesole  five  glazed  terra-cotta  statuettes  by  Giovanni  della  Robbia. 
They  are  no  longer  there. 

151  VISIT  BY  THE  MARIES  TO  THE  SEPULCHRE.  1521.  Flor- 
ence. Museo  Nazionale,  No.  37.  Lunette.  H.,  0.90m.;  W.,  2m. 
Photos.,  Alinari,  2751;  Brogi,  9493. 

This  lunette  (Fig.  88)  came  to  the  Museo  Nazionale  in  March  1868, 
from  the  suppressed  convent  of  the  Annunziata.  It  is  signed  by  Giovanni 
della  Robbia  and  dated  1521.  The  central  portion  of  the  composition  is 
closely  related  to  Perugino's  Entombment  (jhpfqP)  in  the  Adcadéthia  and 
Fra  Bartolommeo’s  Pietà,  (1515)  in  the  Pitti  Gallery.  This  composition, 
known  as  a Deposition  or  Pietà,  represents  properly  the  day  of  “prep- 
aration” or  the  first  visit  of  the  Maries  to  the  sepulchre  (Matth.  27,  57-62; 
Mk.  15,  42-47  ; Luke  23,  50-56).  Here  is  the  tomb  which  Joseph  of  Ari- 


GIOVANNI  DELLA  ROBBIA 


147 


mathaea  had  “hewn  out  of  the  rock,”  wherein  “never  man  before  was 
laid,”  covered  in  places  with  moss  and  occupied  by  lizards,  frog's, 
and  snails.  Here  is  the  “clean  linen  cloth”  in  which  the  body  of  Christ  had 
been  laid.  S.  Giovanni  Evangelista  and  the  Mater  Dolorosa,  both  robed  in 


Fig.  88. — Maries  visit  the  Sepulchre.  Florence,  Museo  Nazionale. 


maroon  with  mantles  of  blue,  are  raising  the  head  and  shoulders  of  the 
dead  Christ,  while  Mary  the  mother  of  James  the  Less,  in  yellow  robe  and 
maroon  mantle  leans  over  in  adoration,  and  the  Maddalena,  in  a light  blue 
edged  yellow  robe  and  green  lined  yellow  mantle,  with  the  box  of  spices 
and  ointment,  is  at  his  feet.  We  may  notice  that  the  flesh  colour  of  Christ 
is  of  a darker  hue  than  that  of  the  three  women.  On  the  edge  of  the  white 
linen  cloth  is  inscribed  : 

HOC  OPVS-  FECIT-  IOHAN(N)ES-  ANDREE-  DE  ROBIA • 
AN  ( N ) O D(OM  I ) X I ; Ml)- XXI+ 

The  frame  consists  of  an  inner  egg  and  dart  moulding  and  an  outer  gar- 
land of  fruit  and  flowers  chiefly  in  double  file  rising  from  the  sides  to  the 
top,  which  is  terminated  by  a band  of  white  Annunciation  lilies. 

Bibl.  : 

B.,  Kf.,  18,  24;  FI.  Sc.,  200,  PI.  85;  Denk.  88,  Talf.  280;  Burl.,  no; 

C-M.,  1 32;  Cr.,  328;  S.,  i4i,Abb.  154;  Supino,  445  No.  37;  Vas.,  II, 

193- 

152  THE  ANNUNCIATION1.  Florence.  Museo  Nazionale,  No.  78. 

Lunette.  H.,  0.90m.;  W.,  2m.  Photos.,  Alinari,  2749;  Brogi,  9501. 

This  lunette  (Fig.  89)  was  a companion  piece  to  the  one  just  described, 
and  was  transferred  to  the  Museo  Nazionale  on  the  9th  of  March  1868  from 


GIOVANNI  DELLA  ROBBIA 


148 

the  convent  of  the  Annunziata.  The  subject  of  the  lunette  was  especially 
appropriate  to  the  location.  The  archangel  Gabriel  robed  in  white  with 
mantle  of  yellow  lined  green,  kneels,  holding  a lily  branch,  and  announces 
his  message  to  the  Annunziata,  who  in  violet  edged  yellow  robe  and  mantle 
of  blue  lined  green  is  seated  on  a yellow  throne  before  a highly  decorated 


Fig.  89. — The  Annunciation.  Florence,  Museo  Nazionale. 


curtain.  Between  the  two  figures  is  a dolphin  handled  vase  full  of  roses 
and  lilies,  above  which  amid  the  golden  light  of  heaven  is  seen  the  Holy 
Dove,  and  a bed  with  curtains  and  bolster  of  pure  white. 

The  frame  has  a wider  garland  than  that  of  its  companion  piece,  com- 
posed of  fruit  and  flowers,  rising  from  the  sides  toward  the  top  where  is  a 
row  of  Annunciation  lilies.  The  fruit  is  composed  of  contiguous,  triplex 
bunches  interspersed  at  irregular  intervals  alternately  with  pairs  of  white 
roses  or  white  lilies. 

Bibl.  : 

B.,  Kf.,  18,  24;  Burl.,  in;  C-M.,  217  No.  69;  Cr.,  340;  Supino,  453 

No.  78. 

153  S.  FRANCESCO.  Florence.  Museo  Nazionale,  No.  59.  Medallion. 

Diam.,  1.40m.  Photo.,  Brogi,  9478. 

This  medallion  (Fig.  90)  came  from  the  abandoned  church  now  known 
as  the  Manifattura  dei  Tabacchi,  in  the  Via  Panicale.  S.  Francesco  is  here 
represented  in  three  quarter  figure,  with  yellow  nimbus,  flesh  coloured  face, 
yellow  brown  beard,  gray  cowl  and  gown,  holding  a yellow  cross  and  blue 
book.  His  eyes  have  light  yellow  irises.  The  background  is  white. 

The  frame  has  an  inner  egg  and  dart  moulding  and  an  outer  heavy 


GIOVANNI  DELLA  ROBBIA 


149 

wreath  of  contiguous,  triplex  bunches  of  fruit  with  white  flowers  at  regular 
intervals. 


Bibl.  : 

Burl.,  hi  ; Cr.,  339;  Supino,  449  No.  59. 


Fig.  go. — S.  Francesco.  Florence,  Museo  Nazionale. 

154  S.  FRANCESCO.  Florence.  S.  Croce  (Cappella  Medici).  Half 
figure.  Photos.,  Alinari,  2164;  Brogi,  5826. 

S.  Francesco  ( Fig.  91  ) is  here  portrayed  in  a gray  habit  carrying  a 


Fig.  91. — S.  Francesco.  Florence,  S.  Croce. 


GIOVANNI  DELLA  ROBBIA 


150 

yellow  cross  and  a blue  book  with  yellow  fittings.  He  shows  exaggerated 
stigmata  on  hands  and  side. 

Bibl.  : 

B.,  Kf.,  23;  Burl.,  107;  C-M.,  206  No.  8;  Cr.,  341. 

155  A MONASTIC  SAINT.  Florence,  S.  Croce  (Capella  Medici). 
Half  figure.  H.,  0.70.  Photos.,  Alinari,  2163;  Brogi,  5827. 

This  Saint  (Fig.  92),  called  S.  Bernardo  by  Bode,  S.  Bonaventura  by 
Cavallucci-Molinier  and  Miss  Cruttwell,  and  Beato  Gherardo  da  Villa- 


Fig.  92. — Monastic  Saint.  Florence,  S.  Croce. 

magna  by  Alinari,  wears  a brown  habit  over  a white  tunic  and  displays  a 
book  inscribed  Unde  vos  0 fili(a)e  pulsate  matrem  precibns  pulsate  ad 
ostium  vim  tantis  amicis. 

Bibl.  : 

B.,  Kf.,  23;  Burl.,  107;  C-M.,  206  No.  8;  Cr.,  341. 

156  S.  ORSOLA.  Florence.  Museo  Nazionale  No.  55.  Medallion. 
Diam.,  1.40m.  Photo.,  Brogi,  9479. 


This  medallion  (Fig.  93),  a companion  piece  to  No.  153,  is  also  from 
the  Manifattura  dei  Tabacci.  S.  Orsola,  who  was  stabbed  in  the  neck, 


GIOVANNI  DELLA  ROBBIA 


151 

is  here  represented  with  a wound  in  her  throat.  Her  face  is  enamelled 
to  imitate  flesh  colour.  Above  her  golden  hair  rests  a golden  crown,  and 
over  her  shoulders  is  cast  a rich  mantle  bordered  with  jewels.  She  carries 


Fig.  93. — S.  Orsola.  Florence,  Museo  Nazionale. 

a green  palm  and  a blue  and  yellow  book.  The  background  is  a white  disk  ; 
the  frame  a white  egg  and  dart  moulding  surrounded  by  a polychromatic 
wreath  of  triplex  and  quinqueplex  bunches  of  fruit  irregularly  interspersed 
with  flowers.  A lizard  may  be  seen  near  the  grapes. 

Bibl.  : 

Burl.,  hi;  Cr.,  339;  Supino,  448  No.  55. 

157  BUST  OF  S.  ORSOLA.  Florence.  Museo  Nazionale,  No.  72. 
H.,  0.60m.  Photos.,  Alinari,  2757;  Brogi,  9466. 

This  bust  (Fig.  94)  catalogued  as  S.  Caterina  should  be  known  as  S. 
Orsola,  for  in  the  Berlin  Museum  there  was  formerly  an  atelier  copy  of 
it  which  shows  the  wound  in  the  neck,  as  is  the  case  with  the  medallion  in 
the  Museo  Nazionale  No.  55,  and  in  the  S.  Orsola  bust  at  the  Certosa. 
She  wears  a yellow,  for  golden,  crown  and  necklace  with  pendant  or  brooch 
which  imitates  a sapphire  surrounded  by  pearls. 

Bibl.  : 

Burl.,  hi;  Cr.,  339;  Supino,  451  No.  72. 


152 


GIOVANNI  DELLA  ROBBIA 


Fig.  94. — S.  Orsola.  Florence,  Museo  Nazionale. 

158  S.  ORSOLA.  Berlin.  Kaiser-Friedrich-Museum,  No.  133  A( for- 
merly). Photo.,  Private. 

This  bust,  almost  a replica  of  a bust  No.  72  in  the  Museo  Nazionale, 
Florence,  is  in  white  enamel  with  yellow  crown  and  necklace  with  pendant 
above  which  is  the  usual  sapphire  brooch.  Her  neck  shows  a violet  wound. 
This  identifies  her  as  S.  Orsola. 

Cavallucci  and  Molinier  give  the  museum  number  as  619;  when  I photo- 
graphed it  in  1894  the  number  had  been  changed  to  133 A.  In  Fraulein 
Schottmuller’s  official  catalogue  it  is  omitted  altogether. 

Bibl.  : 

C-M.,  263  No.  365;  Tieck-Gerhard,  No.  619. 

159  THE  PRESEPIO,  OR  NATIVITY  WITH  GLORIA.  1521. 
Florence.  Museo  Nazionale,  No.  25.  Altarpiece.  H.,  2.80m.;  W., 
1.55m.  Photos.,  Alinari,  2776;  Brogi,  9500. 

This  altarpiece  (Fig.  95)  was  formerly  in  the  church  of  the  convent  of 
S.  Girolamo  delle  Poverine  suppressed  in  1865.  There  is  no  indication  on 
the  monument  itself  that  it  was  designed  for  that  church.  It  bears,  how- 
ever, the  name  of  the  donor  Filippo  di  Tommaso  di  Filippo  dei  Panichi, 
that  of  the  sculptor  Giovanni  di  Andrea  della  Robbia,  and  the  date  1521. 

Bad  in  composition  and  garish  in  colour  as  is  this  monument — one  of  the 
first  to  bear  Giovanni’s  signature — its  effectiveness  would  be  improved  if 
we  bear  in  mind  ( 1 ) that  the  candelabra  bearing  and  musical  angels  were 


GIOVANNI  DELLA  ROBBIA 


r53 


originally  lateral  decorations  of  a niche  and  set  either  at  right  angles  to 
the  central  relief,  as  in  the  Assumption  at  S.  Giovanni  Valdarno  or  at  ob- 
tuse angle  to  it,  as  in  the  Madonna  and  Saints  altarpiece  in  the  Via  Nazi- 
onale; (2)  that  the  fruit  garland  originally  sprang  from  the  top  and  hung 
down  on  either  side,  as  in  the  altarpiece  at  S.  Girolamo,  Volterra  (1501), 
the  shrine  of  S.  Romolo  at  Fiesole  (1521),  and  other  monuments;  and  (3) 
that  the  central  relief  must  have  originally  contained  an  Annunciation 
angel  and  probably  lacked  the  medallion  with  God  the  Father. 

The  central  group  represents  the  Presepio,  usually  called  the  Nativity. 


Fig.  95. — The  Nativity.  Florence,  Museo  Nazionale. 


154 


GIOVANNI  DELLA  ROBBIA 


Here  the  infant  Christ,  nude,  unglazed,  rests  on  light  green  hay;  over  him 
leans  S.  Giovannino  in  yellowish  brown  hair  cloth;  at  his  sides  S.  Giuseppe 
in  robe  of  blue,  edged  yellow,  and  cloak  of  yellow,  and  S.  Maria  in  violet 
robe  with  yellow  borders,  and  mantle  of  light  blue  lined  green.  Behind 
them  are  the  heads  of  the  ox  and  ass,  a shepherd  carrying  a lamb;  the 
thatched  stable;  hill  sides  with  trees,  birds,  and  animals;  shepherds  watch- 
ing their  flocks,  dazzled  by  the  light  from  the  Annunciation  angel  (possibly 
the  small  angel  here  used  to  support  the  enormous  medallion)  ; and  three 
angels  singing  the  Gloria  in  Excelsis.  The  huge  star  in  the  East  and  the 
medallion  of  God  the  Father  in  yellow  flames  of  light,  surrounded  by  blue 
and  violet  winged  cherubs  alternating  with  golden  stars,  seems  an  intrusion 
into  the  composition,  diverting  attention  from  the  principal  theme. 

The  predella  shows  at  either  end  the  stemma  of  the  Panichi  family: 
Gules,  a griffin  segreant  or  debruised  of  a bend  sable.  Between  the  two 
stemmi  is  a long  relief  representing  the  procession  and  adoration  of  the 
Magi,  the  donor  and  a Dominican  monk,  and  cartellini  inscribed  : 

(1)  HOC-  OPVS-  FECIT  FIERI-  PHILIPPVS-  DICTVS  THOME 

PANIC  VS  and  (i)  AN(N)0  MDXXI 

The  fruit  frame  is  a continuous  series  chiefly  of  triplex  bunches  of  fruit 
interspersed  with  white  flowers. 

The  lateral  decorations  consist  of  ( i ) inscriptions  on  palmette-handled 
tablets  ; to  the  left, 

y HOC*-  OPVS  ► FECIT 
FIERI  PHILIPPVS  ► 

THOME  PHILIPPI  ► 

DE  PANICHIS  ► AN(N)0  D(OMI)NI^ 

XXI  + 

to  the  right, 

7 HOC  OPVS*FECIT»TOA (NN)ES 
AXDREh>DE  ► ROBIA^AC^  APO 
SVIT  ► HOC  ► IN  TEMPORE 
DIE  ► VLTIMA  ► LVLII 
AN(N)0  ► D(OMI) NI  ► MK>XXI+; 

(2)  candelabra  bearing  angels  in  honour  of  the  new  born  Child,  the  two 
lowermost  in  robes  of  blue  with  green  collars  and  wings  of  wood,  bearing- 
candlesticks  and  kneeling  on  polygonal  pedestals  inscribed  respectively 

+^PVER  ► NATVS  ► EST  ► NOBIS+^  and 
FVLIVS  ► DATVS  ► EST  ► NOBIS+^; 
the  smaller  ones  above  clad  in  violet  brown  with  mantles  of  blue;  (3)  four 
cherubs,  winged  alternately  in  violet  and  in  blue,  serving  as  punctuation 
points  or  resting  places  before  we  reach  (4)  the  musical  angels  who  with 
cithera,  tambourine,  psaltery,  flageolets  and  violin  unite  in  the  Gloria  in 
Excelsis. 


GIOVANNI  DELLA  ROBBIA 


155 


Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

“Monasterio  Le  Poverine 

A mezzo  la  chiesa  altro  Altare  della  Famiglia  de  Panichi  con  La  loro  Arme. 
Vi  è una  Natività  del  Sigre  di  Terra  cotta  colorita  molto  bella  con  alcune 
storiette  di  figure  piccole  nell’  imbasamento  e molti  altri  ornamenti  di  Fes- 
toni, fogliami  et  altro  molto  belli  sonovi  queste  due  Inscrizioni  (1)  Hoc 
opvs  fecit  fieri  Philippus  Thome  Philippi  de  Panichis  Anno  Dni  1521 
(2)  Hoc  opus  fecit  Ioannes  Andree  de  Robia  ac  posuit  hoc  in  tempore  die 
Ultima  Julii  1521.” 

[Archivio  di  Stato,  Sepoltuario  Rosselli  Cod.  Carta  Sec.  XVII  Parte 
Prima  c.  460.] 

Bibl.  : 

B.J.,  47-48,  77-79;  B.,  Kf.,  18,  24;  A.  S.  A.,  II  (1889),  2;  Buri.,  no; 
C-M.,  123,  132-134;  Cr.,  238,  328;  Demmin,  218;  M.,  R.  H.,  252; 
R.,  D.  R.,  222,  244;  Se.  FI,  IV,  50,  58;  Richa,  II,  301-302;  Roselli, 
Sepoltuario,  I,  460;  Supino,  441  No.  25;  Vas.,  II,  182  note  2. 

160  MADONNA  ENTHRONED  WITH  SAINTS.  1522.  Florence. 
Via  Nazionale.  Known  as  the  Tabernacolo  delle  Fonticine.  Photos., 
Alinari,  3192-3193;  Brogi,  4695. 

This  elaborate  tabernacle  (Fig.  96)  was  set  up  in  1522  by  the  “Men  of 
the  Kingdom  of  Bethlehem,’’  an  organization  of  semi-religious  character 
which  represented  one  of  the  districts  of  Florence.  It  stands  in  the  Via 
Nazionale  (Già  Tedesca)  and  is  affixed  to  the  wall  of  the  former  Con- 
vento di  Foligno. 

Here  are  represented  the  Madonna  enthroned  amid  Saints.  The  Ma- 
donna, in  robe  of  violet  edged  yellow  and  mantle  of  blue  lined  green,  is 
seated  on  an  elaborate  throne  panelled  in  coarse  imitation  of  variegated 
marble  and  with  arms  adorned  with  yellow  grotteschi.  Her  eyes  have  violet 
brows,  lashes,  pupils,  and  yellow  irises.  She  carries  on  her  right  knee  on 
a cushion  the  nude  Child  who  holds  a bird  and  blesses.  Behind  her  are 
(1)  S.  Jacopo  Maggiore,  in  blue  edged  yellow  and  mantle  of  violet  lined 
green,  holding  a book  and  a staff  with  a shell  attached,  a patron  of  such 
organizations  as  that  of  the  Men  of  Bethlehem,,  and  (2)  S.  Lorenzo,  in 
green  edged  yellow  with  a rectangular  patch  of  blue  on  his  breast,  holding 
a book  and  palm.  Behind  him  is  his  gridiron.  To  the  left  and  right,  at 
an  obtuse  angle  to  the  central  relief,  stand  in  niches  (3)  S.  Barbara,  robed 
in  white  embroidered  with  Persian  pattern  with  mantle  of  violet  lined  blue, 
carrying  a stepped  tower-like  reliquary  and  a palm,  on  a pedestal  inscribed 
J SANCTA  + BARBERA  + and  (4)  S.  Caterina,  in  blue  edged  yellow 


156  GIOVANNI  DELLA  ROBBIA 

with  mantle  of  yellow  lined  green,  holding  a book  and  palm,  her  symbol  a 
toothed  wheel  at  her  side,  on  a pedestal  inscribed  * SANCTA  +CHATER- 
INA  + Above  their  heads  are  blue  and  violet  winged  cherubs  separating 
them  from  a medallion  of  God  the  Father  with  open  arms.  Below  him 


Fig.  96. — Tabernacolo  belle  Fonticine.  Florence,  Via  Nazionale. 


the  Holy  Dove  emitting  golden  light  through  a golden  crown  held  high 
above  the  Madonna’s  head  by  two  lily  bearing,  polychromatic  angels.  The 
polygonal  pedestal  of  the  Madonna's  throne  is  inscribed  : 
y SALVE  ► VIRGO  ► PARENS  ► TERRARVM  ► CVN(C)TA  RE- 
GENTIS  + 

SALVE  SPES  HOMINVM  GRATIA  VITA  SALVS  + 
and  further  below 


GIOVANNI  DELLA  ROBBIA  157 

y QVESTO  ► DEVOTO  TABERNACHOLO ► AN(N)0  FATTO 
FARE  GL(I) VOMINI 

DEL  REAME  DI  BELIEM(M)E ► POSTO  IN  VIA^  SANCTA 
CHATERINA 

► M^D^XXII  + 

The  latter  inscription  explains  the  introduction  of  S.  Caterina  into  the  com- 
position. In  the  same  district  was  a Compagnia  di  S.  Barbara,  a favourite 
society  for  Germans  and  Flemings. 

The  frame,  in  gross  imitation  of  Ghiberti’s  bronze  gates,  shows  a series 
of  heads  associated  with  fruit  and  flowers.  To  the  left  is  (1)  S.  Sebastiano 
in  a niche,  (2)  S.  Antonio  Abate,  his  name  inscribed  on  his  nimbus,  (3) 
S.  Domenico,  a star  on  his  nimbus,  (4)  S.  Stefano,  a stone  on  his  head, 
(5)  a Bishop,  S.  Zanobi  or  Ambrogio,  (6),  S.  Francesco,  (7)  S.  Filippo 
Benizzi,  a restoration  of  the  year  1885  when  the  head  in  this  position  (prob- 
ably of  some  other  saint)  was  through  carelessness  broken  to  pieces,  and 
(8)  S.  Rocco.  The  fruit  bunches,  chiefly  triplex,  are  arranged  dos-a-dos 
and  separated  by  blue  ribbons  tied  in  horizontal  bows. 

Bibl.  : 

A.  e S.,  IV,  289;  Baldinucci,  V,  220;  B.  J.,  48,  79;  Bigazzi,  285-286; 

B. ,  Kf.,  24;  A.  S.  A.,  II  (1889),  2;  Burl.,  108;  C-M.,  Frontispiece, 
124-126,  136,  213  No.  51  ; Cr.,  213,  239,  329;  Demmin,  215;  R.,  D.  R., 
256-257;  Sc.  FI.,  IV,  62;  Ridia,  IV,  186;  vonRumohr,  II,  295  note; 
V as.,  II,  191  ; Z.  /.  b.  K.,  XX  (1885),  20,  720. 

161  MADONNA  ENTHRONED  AND  SAINTS.  Florence.  S.  Croce. 
Cappella  Bardi-Serzelli.  Round-headed  altarpiece.  H.,  2.45m.  ; W., 
1. 60m.  Photos.,  Alinari,  2093;  Brogi,  5882.  Cast,  Lelli,  1174. 

In  S.  Croce,  the  chapel  formerly  known  as  the  Pulci,  now  as  the  Cappella 
Bardi-Serzelli,  contains  an  altarpiece  (Fig.  97)  in  style  characteristic  of 
Giovanni  della  Robbia’s  work  of  1521  or  1522.  Brogi’s  photograph  shows 
that  the  sides  of  the  chapel  were  once  painted  with  Giottesque  frescoes, 
which  as  Alinari's  photographs  show,  were  entirely  concealed  by  plaster  so 
as  to  make  the  altarpiece  flt  against  the  wall.  This  suggests  that  the  altar- 
piece  was  not  originally  designed  for  this  position.  We  become  convinced 
of  this  when  we  consider  the  question  of  a frame.  Here  is  only  an  egg 
and  dart  moulding  with  no  crowning  ornament  and  no  lateral  acroteria,  in 
fact  no  termination.  This  now  frameless  altarpiece  was  in  all  probability 
completed  in  a manner  similar  to  that  of  the  Tabernacolo  delle  Fonticine, 
where  an  analogous  egg  and  dart  moulding  rests  on  inadequate  architectural 
support.  The  central  relief  represents  the  Madonna  enthroned  amid  stand- 


158  GIOVANNI  DELLA  ROBBIA 

ing  saints.  Possibly  two  more  saints  occupied  niches  in  the  sloping  sides 
of  the  frame,  and  a bust  of  God  the  Father  at  the  summit  gave  to  the  monu- 
ment the  customary  Trinitarian  character.  The  Madonna  robed  in  violet 


Fig.  97. — Madonna  and  Saints.  Florence,  S.  Croce, 


edged  yellow  and  a mantle  of  blue  lined  green,  carries  on  her  knees  the 
nude  Child  seated  on  a cushion.  Pier  throne  has  yellow  mouldings  and 
acroteria,  blue  frieze  and  archivolt,  and  a predella  inscribed  : 


GIOVANNI  DELLA  ROBBIA 


159 


y REGINA ► CELI  ► LETARE  ► ALLELVIA  ► QIVA  (for  Quia) 
QVE(M)^  MERVISTI  ► PORTARE  ► ALLE(LVIA)^  RESV(R)- 
REXI  ► 

SICVT ► DIXIT ► ALL(ELVIA)  • ORA  P(RO)  NOBIS-  DEVM  • 
ALLE(LVIA). 

The  Child  holds  a bird  and  is  blessing. 

To  the  left  stands  S.  Giovanni,  robed  in  blue  with  mantle  of  dark  violet 
lined  green.  He  is  blessing  and  carries  a yellow  chalice  covered  by  a green 
dragon.  To  the  right  S.  Maria  Maddalena,  in  violet  robe  and  green  lined 
yellow  mantle,  carries  a yellow  box  of  ointment  and  a book. 

Two  angels  behind  them  hold  jasper  vases.  Above  the  throne  lily  bear- 
ing angels  hold  the  golden  crown  set  with  jewels  while  a white  dove  floats 
against  the  light  blue  sky.  All  nudes  are  unglazed. 

The  predella  of  the  entire  relief  consists  of  an  upper  member  broken  so 
as  to  throw  the  central  part  into  relief  and  decorated  with  a network  of 
cubes  with  black,  yellow  and  green  sides  ; and  a lower  member  showing  be- 
tween white  mouldings  a blue  frieze  on  which  are  represented  S.  Domenico, 
in  black  mantle  over  white  tunic,  holding  a book  and  lily  branch,  S.  Lucia 
with  palm  and  platter  with  eyes  on  it,  S.  Gabriele,  the  Holy  Dove  and  vase 
with  lilies,  the  Annunziata,  S.  Caterina  with  palm  branch  and  wheel,  and 
S.  Tommaso  d’ Aquino  robed  in  black  mantle  over  white,  holding  an  open 
book.  The  Dominican  character  of  the  predella  is  a further  indication  that 
the  altarpiece  was  not  originally  designed  for  a place  in  the  great  Fran- 
ciscan church  of  S.  Croce. 

Bibl.  : 

B.  J.,  80-81;  B.,  Kf.,  18,  23;  A.  S.  A.,  II,  1889,  2;  Burk,  107; 

C-M.,  206  No.  5;  Cr.,  239-240,  328;  Demmin,  218;  R.,  D.  R.,  254- 

256;  Ac.  FI,  IV,  61-62;  Ruskin,  XXXVIII,  329. 

162  BUST  OF  A WOMAN.  New  York.  Davanzati  Sale,  Nov.  21, 

1916.  Medallion.  Diam.,  0.965m.  Photo.,  Private. 

Within  a polychromatic  wreath  composed  in  six  divisions  of  fruit  and 
flowers  arranged  in  groups  of  five  and  separated  by  blue  fluted  ribbons  is 
a fine  bust  of  a young  woman  (Fig.  98)  set  against  a blue  background. 
Disks  of  dark  violet  indicate  the  eyes.  On  three  of  the  divisions  of  the 
wreath  is  seen  a frog,  on  two  a snail.  Possibly  the  wreath  is  by  Girolamo 
della  Robbia  ; the  bust  however  is  certainly  by  Giovanni  ; and  in  date  not  far 
removed  from  that  of  the  altarpiece  on  the  Pulci  chapel  in  S.  Croce. 

Bibl.  : 

Davanzati  Sale  Cat.,  No.  115. 


i6o 


GIOVANNI  DELLA  ROBBIA 


Fig.  98. — Bust  of  a Woman.  New  York,  Davanzati  Sale. 


163  MADONNA  AND  CHILD.  Cascio.  SS.  Stefano  e Lorenzo. 
Photo.,  Private. 

The  Madonna  stands  in  a niche  erect  with  the  nude  Child  on  her  left 
arm  and  holds  his  right  wrist  in  her  right  hand.  She  wears  a light  blue 
mantle  over  her  violet  brown  gown.  Two  angels  hold  a crown  over  her 
head.  The  original  crown  is  now  concealed  by  a modern  metal  one  and  a 
similar  modern  crown  has  been  set  on  the  head  of  the  Child. 

The  frame  displays  on  the  archi  volt  a winged  cherub  head  with  pendent 
bunches  of  polychromatic  fruit  against  a white  ground.  The  pilasters,  also 
white,  decorated  with  pendent  garlands  consisting  of  triplex  bunches  of 
fruit  and  flowers.  The  predella  shows  a heavy  egg  and  dart  cornice,  a blue 
frieze  formerly  inscribed,  and  an  undecorated  base  moulding. 

By  a pupil  of  Giovanni  della  Robbia. 

Bibb: 

Cr.,  335- 

164  MADONNA  AND  CHILD,  WITH  S.  GIOVANNINO.  Ussé. 
Chateau,  Chapelle.  Photo.,  Neuerdein. 

This  is  a puzzling  relief.  The  Madonna  holding  the  nude  Child  blessing, 
and  the  kneeling  S.  Giovannino  clad  in  hair  cloth  and  his  scroll  inscribed 


GIOVANNI  DELLA  ROBBIA 


161 


ECCE  AGNVS  DEI,  suggests  the  influence  of  Giovanni  della  Robbia.  The 
polychromatic  cherubs  in  the  lunette,  the  console  with  the  cherub  head  and 
the  cornucopias,  and  the  sphinxes  in  the  Madonna’s  throne  also  recall  his 
work  of  1521.  The  background  with  its  rosettes  in  circles  seems  too  sche- 
matic and  its  extension  below  the  console  most  unusual.  The  outer  frame 
with  the  fruit  garland  about  the  lunette  and  the  dolphin  capitals  over  the 
pilasters  suggest  also  his  influence,  but  the  pendent  bunches  of  wheat  in 
triplex  bunches  is  a new  departure — possibly  designed  by  Girolamo  della 
Robbia.  However,  I have  not  seen  this  relief  and  it  may  be  in  great  part 
modern. 

165  TWO  ANGELS  HOLDING  A CROWN.  Florence.  Museo  Nazi- 
onale No.  48.  Medallion.  Diam.,  1.37m.  Photos.,  Alinari,  2769; 
Brogi,  9487. 

This  medallion  (Fig.  99),  brought  from  the  Cappuccini  monastery  on 
April  5,  1867,  has  long  been  recognized  as  a combination  of  unrelated 
parts.  The  central  relief  of  a Madonna  adoring  the  Child,  not  to  be  at- 
tributed to  Giovanni  della  Robbia,  originally  had  no  connection  with  this 


Fig.  99. — Angels  holding  Crown.  Florence,  Museo  Nazionale. 

frame.  Nor  was  the  frame  designed  for  this  relief,  as  the  ground  on  which 
the  angels  stand  has  no  relation  to  that  on  which  the  Madonna  is  kneeling, 
d he  angels  holding  a yellow  crown,  through  which  a white  dove  pours 
tongues  of  flame,  are  clad  in  yellow  robes  and  have  blue  collars.  In  all 


1 62 


GIOVANNI  DELLA  ROBBIA 


details  they  reflect  the  work  of  Giovanni  della  Robbia  between  the  years 
1520  and  1525.  The  original  design  is  not  perfectly  clear.  Had  the  central 
relief  been  a Madonna  enthroned  we  should  have  expected  smaller  angels 
flying  above  her  head.  For  an  Assumption  the  angels  would  have  been 
represented  as  supporting  a mandorla.  Here  they  are  standing  on  the 
ground,  too  large  in  scale  even  for  a ciborio  to  have  occupied  the  middle 
ground.  Possibly  they  were  designed  to  enframe  a painting  by  another 
artist  on  a different  scale.  Evidently  the  central  portion  of  the  composi- 
tion has  been  lost  and  another  of  convenient  size  put  in  its  place. 

The  garland  is  composed  of  irregularly  triplex  continuous  bunches  of 
fruit  and  flowers  on  which  are  seen  a snail  and  a lizard. 

Bibl.  : 

Burl.,  50,  no;  C-M.,  217  No.  73;  Cr.,  339;  Supino,  447  No.  48. 

166  STEMMA  OF  ARCANGELO  SPIGLIATI.  1522.  Florence, 
Museo  Nazionale,  No.  42.  Photo.,  Private. 

On  a painted  plaque  (Fig.  100)  a beribboned  tournament  shield  bears  the 
Spigliati  arms  : Gules , a tower  argent  surmounted  by  two  lions  rampant 


or.  Around  the  arms  is  inscribed:  S(J5R)  ÀRCHANGIOLO  DI  LORE- 
(N)ZO  SPIGLIATI  ► E SVORVM  ► AN(N)0^  S(  ALVATORIS)^ 
M^DXXII 


GIOVANNI  DELLA  ROBBIA  163 

Several  members  of  the  Spigliati  family  were  priors  of  Llorence  in  the 
XIV  century. 

Bibl.  : 

Cr.,  338;  M.,  R.  H.,  257-258;  P.,  558  ; Supino,  446  No.  42. 

167  MADONNA  ENTHRONED,  CROWNED  BY  ANGELS.  Monte 
Oliveto  Maggiore.  Abbazia  (over  entrance).  W.,  1.25m.  Photos., 
Alinari,  9152;  Lombardi,  1543. 


Fig.  ioi. — Madonna  Enthroned.  Monte  Oliveto  Maggiore. 


In  a niche  over  the  entrance  to  the  grounds  of  the  monastery  at  Monte 
Oliveto  is  the  Madonna  enthroned  (Fig.  101).  She  wears  a violet  robe, 
blue  mantle  lined  green  with  a large  yellow  star  on  the  right  shoulder.  Her 
hair  is  brown,  her  eyes  have  black  brows,  lashes  and  pupils  without  distinc- 


GIOVANNI  DELLA  ROBBIA 


164 

tion  of  irises.  The  Child,  nude,  holding  a bird,  blessing,  is  seated  across  her 
lap  on  a cushion.  The  throne  is  faced  with  panels  decorated  with  grot- 
teschi yellow  on  blue  and  bear  on  each  side  the  Montolivetani  arms  : a mount 
of  three  tops  or,  with  olive  branches  vert,  surmounted  by  a cross  gules.  The 
predella  is  inscribed  : 

y SVB  TVVM  ► PRESIDIVM  CONFVGIMVS^  SANCTA  ► DEI  ► 
GE(N)ET  (RIX). 

Above  the  head  of  the  Madonna  two  polychromatic  angels,  with  many 
coloured  wings,  bear  a yellow,  jewelled  crown  through  which  the  Holy 
Dove  pours  out  yellow  tongues  of  fire. 

Bibl.  : 

B.,  Kf.,  25;  Brogi,  Inv.,  38;  C-M.,  238  No.  205;  Cr.,  240,  329;  M., 
R.  H.,  147;  R.,  D.  R.,  257;  Sc.  FI.,  IV,  63. 

168  MADONNA  AND  CHILD  BLESSING.  Florence  (near).  Cas- 
tello di  Vincigliata.  Chapel. 

From  the  Palazzo  Corsi,  Florence.  I have  not  seen  this  Madonna,  but  it 
appears  to  be  by  Giovanni  della  Robbia  and  may  be  associated  with  the 
Monte  Oliveto  and  the  Scandicci  Madonnas.  Like  them  it  is  inscribed  : 
SVB  TVVM  PRESIDIVM  CONFVGIMVS  SANCTA  DEI  GENETRIX 
The  frame  work  appears  to  be  modern.  The  pilasters  and  archivolt  are 
not  Robbiesque;  the  base  inscribed  J A(N)NO^  DOMINI  M^DKXXVI  + 
follows  the  type  of  a ciborium  base  like  that  in  the  Museo  Nazionale  No.  77. 
The  console  is  too'  small  for  the  tabernacle. 

Bibl.  : 

Cr.,  342;  R.,  D.  R.,  257,  265. 

169  S.  BENEDETTO  ENTHRONED.  Monte  Oliveto  Maggiore.  Ab- 
bazia (over  entrance,  inner  side).  W.,  1.25m.  Photos.,  Alinari,  9153; 
Lombardi,  1 542. 

Over  the  inner  side  of  the  main  entrance  to  the  grounds  of  the  monastery 
at  Monte  Oliveto  is  a statue  of  S.  Benedetto  (Fig.  102)  under  whose  rule 
the  monastery  was  placed  by  its  founder  S.  Bernardo  dei  Tolomei.  The 
throne  is  similar  to  that  of  the  Madonna  on  the  outer  side  of  the  entrance, 
but  its  low  predella  bears  no  inscription. 

The  dark  bearded  saint  clad  in  white  monastic  robes  blesses  with  his 
right  hand;  in  his  left  is  an  open  book  inscribed:  AVSCVLTA^  O FILI- 


GIOVANNI  DELLA  ROBBIA  165 

(I)  PRECEPTA  MAGI  STRI  ET  ► INCLINA  AVREM,  the  first  words 
of  his  famous  Rule. 

Bibl.  : 

B.,  Kf.,  25;  Brogi,  Inv.,  38;  C-M.,  238  No.  206;  Cr.,  240,  348;  Jame- 
son, Leg.  Mon.  Orders,  15,  148-149. 


Fig.  102. — S.  Benedetto  Enthroned.  Monte  Oliveto  Maggiore. 


170  S.  ANTONIO  ABATE.  Berlin.  Kaiser-Friedrich  Museum,  No. 
1 18  (I.  167).  Statuette.  H.,  1.06m.  Photo.,  Museum. 


Purchased  in  Florence  in  1846.  S.  Antonio  is  here  seated  on  a throne 
(Fig.  103)  ornamented  with  sphinxes,  as  is  S.  Romolo  in  Fiesole  Cathedral 
(1521).  He  is  blessing  with  his  right  hand  and  in  his  left  holds  a book 
inscribed  : 

y O VOI  CITE 
SIATE  NEL 
QVOR(i.e.  CVORE)  MIO 
AVERTISCO 


GIOVANNI  DELLA  ROBBIA 


CHE  NO(N) 

R(I)P(V)  DIATE 
LA  FATICA 
DI  TANTO 
TEMPO  +. 

The  nudes  are  unglazed,  as  also  the  cowl.  The  mantle  is  decorated  with 
a pattern  resembling  that  on  the  Madonna  in  the  Assumption  medallion  in 


Fig.  103. — S.  Antonio  Abate.  Berlin  Museum. 

the  fagade  of  the  hospital  at  Pistoia  (1525),  and  has  a yellow  border  on 
which  at  intervals  appears  one  of  S.  Antonio's  symbols,  the  T cross.  At 
his  feet  is  the  pig  wearing  a bell  about  his  neck. 

Bibl.  : 

B.,  Kf.,  26;  It.  PL,  95;  Bode  and  Tschudi,  44  No.  135;  C-M.,  262 
No.  363;  Cr.,  333;  Schottmiiller,  51  No.  118;  Tieck-Gerhard,  No. 
628A. 

171  S.  ANTONIO  ABATE.  Paris.  Louvre,  No.  451.  Round-headed 
relief.  H.,  1.50m.;  W.,  0.59m. 


S.  Antonio,  clad  in  brown  monastic  robe,  is  seated  holding  a crutch  in 


GIOVANNI  DELLA  ROBBIA  167 

his  right  hand  and  in  his  left  a book  and  cross.  The  steps  of  the  throne 
have  yellow  treads  and  green  facings. 

Bibl.  : 

C-M.,  279  No.  463;  Cr.,  350  No.  451. 

172  PROPHETS,  APOSTLES  AND  SAINTS.  1523.  Florence 
(near).  Certosa  in  Val  d’Ema.  Sixty-six  medallions.  Photos.,  Ali- 
nari,  3726-3733;  Brogi,  4731-4742. 

According  to  Milanesi  the  heads  in  the  medallions  at  the  Certosa  (Fig. 
104)  were  made  by  Giovanni  della  Robbia  in  1522  (error  for  1523).  He 
publishes  no  documents  for  this  assertion.  In  style  they  are  certainly  to  be 


attributed  to  Giovanni,  many  of  them  to  his  own  hand,  and  their  docu- 
mented date  1523  brings  them  into  close  relationship  with  the  medallions  of 
the  Tabernacolo  delle  Fonticine.  For  a while  they  were  transferred  to  the 
Accademia  in  Florence,  but  in  1892  returned,  not  without  some  damage,  to 
the  Certosa.  They  are  set  in  the  spandrels  of  the  arcade  which  surrounds 
the  large  cloister,  and  are  sixty-six  in  number.  Their  present  arrangement, 
probably  not  the  original  one,  roughly  classifies  them  into  ( 1 ) Old  Testa- 
ment characters,  (2)  Apostles,  (3)  Male  Saints,  (4)  Female  Saints.  At 
the  corners  are  set  the  four  Evangelists. 


1 68  GIOVANNI  DELLA  ROBBIA 

I.  Old  Testament  characters.  West  side. 

1.  Corner  medallion.  S.  Matteo  with  angel. 

2.  Adam,  with  a child  (Abel)  and  a serpent,  female  headed  (Fig.  105). 

3.  Eve,  with  a child,  and  serpent. 

4.  Noah,  with  ark  and  dove  carrying  branch. 

5.  Abraham,  with  Isaac,  flaming  altar  and  knife  (Fig.  106). 


Fig.  105. — Adam. 


Fig.  106. — Abraham. 


6.  Moses,  with  sword  hilt  (deliverance)  and  flaming  nimbus  and  flames 
(burning  bush). 

7.  Joshua,  with  sword  and  sun  (standing  still). 

8.  David,  with  harp  and  head  of  Goliath  and  stone. 

9.  Melchisedek,  with  ephod  and  crown. 

10.  Judith,  with  head  of  Holophernes. 

11.  Jonah,  with  sea  monster. 

12.  Daniel,  with  two  lions. 

13.  Elijah,  with  flames. 


Fig.  107. — S.  Giovanni  Battista. 


Fig.  108. — S.  Taddeo. 


GIOVANNI  DELLA  ROBBIA 


169 


14.  John  Baptist,  clad  in  hair  cloth,  flaming  nimbus  (Lig.  107). 

15.  Stephen,  stone  on  head. 

II.  Apostles.  North  side. 

1.  Corner  Medallion.  S.  Marco,  with  lion. 

2.  S.  Mattia  (repeated),  with  sword. 

3.  S.  Taddeo,  nimbus  inscribed  N.  Thadeus  Ap.  (Lig.  108). 

4.  S.  Simone,  without  attributes. 

5.  S.  Bartolommeo,  with  a knife. 

6.  Giovanni  Evangelista  (repeated),  without  symbol. 

7.  T.  Tommaso,  nimbus  inscribed  N.  Thomas  Ap. 

8.  S.  Andrea,  nimbus  inscribed  S.  Andreas  Ap. 

9.  S.  Pietro,  with  keys. 

10.  Christ. 

11.  S.  Maria,  inscribed  Ava  Regina  Celo. 

12.  S.  Paolo,  with  sword  hilt. 

13.  S.  Giovanni  Evangelista,  nimbus  inscribed  N.  I ohannis  Evangel. 

14.  S.  Jacopo  Maggiore,  with  staff  and  shell. 

15.  S.  Lilippo,  with  cross,  nimbus  inscribed  S.  Philipns  Apis.  (Lig.  109). 

16.  S.  Matteo-,  with  angel. 

17.  S.  Mattia,  with  dagger,  nimbus  inscribed  N.  Matthias  Apis. 

18.  S.  Jacopo  Minore,  with  club. 

III.  Male  Saints.  South  Side. 

1.  Corner  medallion.  S.  Giovanni  Evangelista  with  eagle. 

2.  S.  Lorenzo,  with  gridiron. 

3.  S.  Ugo  of  Grenoble,  with  crozier  and  swan  (Pig.  no). 


Fig.  109. — S Filippo. 


Fig.  no. — S.  Ugo. 


4.  S.  Bruno,  with  mitre  and  crozier  (Lig.  in). 

5.  S.  Benedetto,  in  white  monkish  cowl  (Lig.  112). 


70 


GIOVANNI  DELLA  ROBBIA 


Fig.  ih. — S.  Bruno. 


Fig.  i i2. — S.  Benedetto. 


6.  S.  Zanobi,  with  monogram  of  Christ  and  crozier. 

7.  S.  Niccolò  da  Bari,  with  three  gold  balls  (Fig.  1 1 3 ) . 

8.  S.  Girolamo,  with  cardinal's  hat  and  lion  (Fig.  114). 

9.  S.  Gregorio,  with  dove  (Fig.  1 1 5 ) . 

10.  Christ  (Fig.  1 16). 

11.  Pope  Urban  II,  with  icons  of  SS.  Pietro  and  Paolo.  He  confirmed 
the  order  of  the  Carthusians  (Fig.  1 1 7 ) . 


Fig.  i 13. — S.  Niccolo 


Girolamo. 


12.  S.  Agostino,  with  mitre  and  crozier,  also  an  aedicula,  signed  S.  Aug- 
ustini  Eps.  (Fig.  1 18). 

18.  S.  Giorgio,  with  dragon  (Fig.  121). 

14.  S.  Martino,  nimbus  signed. 

15.  S.  Francesco,  with  crucifix. 

16.  S.  Domenico,  with  lilies,  star  on  nimbus  (Fig.  120). 

17.  S.  Antonio  Abate,  with  a devil  at  his  side. 

18.  S.  Georgio,  with  dragon  (Fig.  121). 


GIOVANNI  DELLA  ROBBIA 


171 


Fig.  1 15.  S.  Gregorio. 


Fig.  1 16. — Christ. 


Fig.  i i 7. — Pope  Urban  II. 


Fig.  i 18.  S.  Agostino. 


Fig.  i 19.  S.  Ambrogio. 


Fig.  120. — S.  Domenico. 


Fig.  121.  S.  Giorgio. 


172 


GIOVANNI  DELLA  ROBBIA 


IV.  Female  Saints.  East  Side. 

1.  Corner  Medallion.  S.  Luca  with  ox. 

2.  S.  Sebastiano,  three  arrow  wounds. 

3.  S.  Orsola,  arrow  wound  in  neck,  crown. 

4.  S.  Barbara,  with  palm  and  tower. 

5.  S.  Cecilia,  with  palm,  crown  of  roses,  and  name  on  nimbus. 

6.  S.  Caterina,  with  wheel. 

7.  S.  Agata,  with  palm  and  breasts. 

8.  S.  Apollonia,  with  palm  and  tweezers  (Fig.  122). 

9.  S.  Lucia,  with  palm  and  eyes  on  salver  (Fig.  123). 


10.  S.  Marta,  with  lilies  and  monster  (Fig.  124). 

11.  S.  Margareta,  with  cross  and  monster. 

12.  S.  Maria  Maddalena,  long  hair,  name  on  nimbus  (Fig.  125). 

13.  Saint,  with  gridiron  and  torch. 


Fig.  122.  S.  Apollonia. 


Fig.  123.  S.  Lucia. 


Fig.  124. 


Marta. 


Fig.  125. — La  Maddalena. 


Fig.  126.  S.  Ansano. 


14.  S.  Veronica,  with  Christ  face  on  her  breast. 

15.  S.  Ansano,  with  palm,  and  flames,  nimbus  signed  S.  Ansanus  (Fig. 
126). 


GIOVANNI  DELLA  ROBBIA 


I73 


Documents:  [Copied  by  Mr.  Rufus  G.  Mather.] 

1.  “Adi  detto  (16  di  febraio  1523) 

Spexe  de  la  n(ost)ra  fabricha  cleono  dare 

205  Ducatj  vintidua  lsei  s quatordicj 

202  sono  p(er)  teste  . 66  . e uno  ysaia  postj 

nel  claustro  de  monaci  pagamo 
a mro  giovanj  dala  robia  come  si  vede 

in  quaderno  di  cassa  st0  k c 62 Due-  22  1 6 s 14  dj-” 

[Archiv.  di  Stato,  La  Certosa,  Giornale  K 1516-1523,  segnato  Corp. 
Sopp.  No.  51  Cod.  15  a c.  136.] 

2.  “Yhs  me  F(ilius)  Adi  13  di  febraio  1523 

Capsa  controscripta  de  avere 


A spexe  dette  (di  fabricha)  Ducatj  vintidua 

1 sei  s quatodicj  e fu  adi  12  di  decto  sono  p(er)  teste  * 66.  poste 

nel  claust0  de  monacj  et  lo  ysaia 

supra  ala  cisterna  el  qualle  montj 

1 24  s io  et  le  teste  a s 40  luna 

pagamo  a mro  giovanj  da  la  robia 

in  firenze  e 1 4 s 4 hebe  di  piu  che 

no(n)  doveva  avere  e quallj  hebe 

in  dono  in  tuto Due-  22  1 6 s 14  dj-” 


[Idem,  idem,  Quaderno  di  Cassa  Entrata  e Uscita  F 1 520-1 531,  segnato 
Corp.  Sopp.  No.  51  Cod  40  a c.  62.] 

3.  “Yhs  maria  adsint  MDXXIJ  adi  24  di  zugno 

Capsa  antescripta  dj  havere 


A spese  di  fabricha  due  dua  lire  sei  e 
s v dj  p(er)  libr  1350  di  marmor  biàcha 
29  a 1 15  el  miaro  (migliaio)  p(er)  elcapitelo 
e la  bassa  de  la  cotona  de  la  cisterna 
copro  mro  frane"  scarpelino  in  firenze  - 
[Idem,  a c.  42.] 


Due-  2 1-6  s-5  dj-” 


174 


GIOVANNI  DELLA  ROBBIA 


“Yhs  MD 

Capsa  controscripta  dj  haver(e)  adj  io  di  dixembre  1522  -- 


13  di  dixebre  - - 


A spese  di  fabrica  due  tre  lire 
una  e s iiij  dj  p(er)  uno  ferro 
delacarucula  e p(er)  una  catena  di 
ferro  p(er)  la  cisterna  nova  pagati 

a mro  pierò  fabro-  Due-  3 1 1 s-4  dj” 

[Idem  a c.  48.] 

5.  “yhs.nT.  F.  M.  D.  XIIJ 

Capsa  controscripta  de  avere  p(er)  insino  adj 
24  di  ap  ( ri  ) Ile  1523 


9 detto  (maggio) 


A spese  di  fabricha  ldua  s dua 

sono  p(er)  aconzatura  di  una  carrucula 

di  ottone  porto  mariotto  fabro  al  noci-  Due-  1 2 s-2  dj-” 

[Idem  a c.  55.] 

Bibl.  : 

A.  S.  A.,  V (1893),  75!  B.  J.,  81;  Buri.,  114;  Cahier,  I,  305;  Carocci, 
Galluzzo,  109;  C-M.,  140,  221  No.  96;  Cr.,  209,  240  243,  343;  Dem- 
min,  218;  R.  G.  M.,  L’Arte,  (1918),  206  XIII  1-2  (Doc.)  ; R.,  D.  R., 
258-259;  Se.  Fi.  IV,  63-64;  Vas.,  II,  182  note,  192. 

173  STATUE  OF  ISAIAH.  Florence  (near).  Certosa  in  Val  d’Ema. 
Statue  over  the  cistern. 

Documents  1 and  2 relating  to  the  heads  of  prophets,  apostles  and  saints 
for  the  Certosa  mention  that  Giovanni  della  Robbia  in  1523  was  also  paid 
for  a statue  of  Isaiah  placed  above  tbe  cistern  in  the  cloister.  An  iron 
grill  now  covers  the  cistern.  The  statue  has  disappeared. 

Bibl.  : 

R.  G.  Mather,  L’Arte,  XXI  (1918),  206,  XIII  (Doc.). 


GIOVANNI  DELLA  ROBBIA 


175 


174  MEDALLIONS  OL  VARIED  CHARACTER.  Lisbon.  Museo 
Nacional  des  Bellas  Artas. 

In  the  Exposition  Rétrospective  of  1882  Mr.  Yriarte  reports  five  or  six 
Robbia  medallions.  Three  were  from  the  Convent  Madre  de  Dios.  One 
contained  a portrait  of  a member  of  the  Gonzaga  family.  Another  was  like 
those  in  the  cortile  of  the  Accademia  Llorence,  i.  e.  the  series  of  heads  by 
Giovanni  della  Robbia  now  restored  to  the  Certosa  outside  of  Llorence. 

Bibl.  : 

Yriarte.  Gaz.  B.  A.,  XXVI  (1882),  27. 

175  AN  EVANGELIST.  Paris.  Louvre.  Old  No.  G.  765.  Statuette. 
H.,  1.22m. 

Set  on  a violet  base  the  Evangelist  clad  in  blue  edged  yellow  with  mantle 
of  violet  lined  green,  holds  a feather  pen  in  his  right  hand  and  an  open 
book  in  his  left.  Prom  the  Campana  collection. 

Bibl.  : 

C-M.,  280  No.  468. 


176  S.  JACOPO  MAGGIORE.  Paris.  Louvre  No.  437  (old  No.  G. 
745).  H.,  1.12m.;  W.,  0.41m. 

S.  Jacopo,  clad  in  green  robe  with  mantle  of  violet  lined  yellow,  holds  in 
his  right  hand  a yellow  pilgrim’s  staff  and  in  his  left  a blue  book. 

From  the  Campana  collection. 

Bibl.  : 

C-M.,  274  No.  440;  Cr.,  350. 

177  S.  DOMENICO.  Paris.  Louvre  (old  No.  G.  766).  Statuette 
H.,  1.12m. 

S.  Domenico,  clad  in  black  mantle  over  white  tunic  holds  a stem  of  lilies 
in  his  right  hand  and  a blue  book  ornamented  yellow  in  his  left.  Set  on 
a violet  base.  From  the  Campana  collection. 

Bibl.  : 

C-M.,  280  No.  469. 


176  GIOVANNI  DELLA  ROBBIA 

178  S.  MICHELE.  Paris.  Louvre  No.  436  (old  No.  G.  746).  H., 

1.17m.  ; W.,  0.39m. 

S.  Michele,  in  gray  blue  armour  and  a mantle  of  violet  lined  green,  holds 
a sword  in  his  right  hand,  scales  in  his  left.  From  the  Campana  collection. 

Bibl.  : 

C-M.,  274  No.  441  ; Cr.,  350. 

179  S.  MICHELE.  Rovezzano.  H.,  0.65m. 

Set  in  a niche  on  the  exterior  of  a house,  No.  13,  is  a relief  statue  of  S. 
Michele.  His  nimbus  and  hair  are  yellow;  his  wings  striped  with  blue, 
white,  yellow,  green,  violet;  his  armour  is  blue  ornamented  with  yellow; 
his  cloak  brown;  his  socks  yellow.  In  his  right  hand  is  a sword,  in  his 
left  scales.  The  dragon  is  green  with  black  and  yellow  spots. 

Bibl.  : 

Burl.,  1 16;  C-M.,  248  No.  265;  Cr.,  353. 

180  THE  MADONNA  AND  CHILD  BETWEEN  SAINTS.  Flor- 
ence. S.  Jacopo  di  Ripoli  (Via  della  Scala).  Lunette.  H.,  1.50m.; 

W.,  2.45m.  Photos.,  Alinari,  2515;  Brogi,  4660.  Cast,  Lelli,  410. 

The  church  of  S.  Jacopo  di  Ripoli  was  an  early  Dominican  foundation, 
which  found  special  patrons  in  the  Antinori  family  during  the  latter  half 
of  the  XV  and  the  early  XVI  century.  Within  this  church  were  the  two 
lunettes  by  Giovanni  della  Robbia  removed  to  La  Quiete  at  Rifredi.  The 
lunette  on  the  exterior  (Fig.  127)  would  appear  also  to  have  been  executed 
by  Giovanni  while  strongly  influenced  by  Verrocchio. 

The  Madonna,  unusually  slender  in  proportion,  carries  in  her  arms  the 
nude  Child  who  is  blessing.  She  wears  a large  star  on  her  right  shoulder, 
similar  to  that  worn  by  the  Madonna  at  Monte  Oliveto.  To  the  left  is  the 
patron  saint  of  the  church,  S.  Jacopo  Maggiore  with  his  staff  and  a book 
ornamented  with  his  shells.  The  type  is  a fairly  close  parallel  to  the  S. 
Giovanni  Battista  at  Galatrona  (1518)  and  at  the  Certosa  (1522).  S. 
Domenico  resembles  Giovanni’s  representation  of  that  saint  at  the  Cer- 
tosa. A continuous  wreath  of  fruit  with  white  flowers  at  intervals  sur- 
rounds the  lunette. 

Bibl.  : 

B.  J.,  64;  Becchi,  III.  Fior.,  V (1908),  97-106;  B.,  Kf.,  23;  Burl.,  53- 


GIOVANNI  DELLA  ROBBIA 


1 77 


54;  108;  C-M.,  49,  207  No.  15;  Cr.,  234-235,  354;  Foville,  116;  M., 
D.  R.  A.,  127  Fi g.  53;  R.,  D.  R.,  218;  Se.  FI.  Ili,  181-182;  Richa, 
IV,  305  ; Vas.,  II,  192. 


Fig.  127.  Madonna  and  Saints,  Florence,  S.  Jacopo  di  Ripoli. 


181  MADONNA  AND  CHILD.  Unglazed.  Newport.  Collection  of 
Mr.  E.  J.  Berwind.  Medallion.  Diam.,  0.86m.  Photo.,  Private. 
Cast  Lelli,  410. 

This  nnglazed  relief  is  said  to  have  come  from  the  Gavet  Collection,  in 
which  case  its  Robbia-like  frame  was  discarded  and  one  of  a quite  different 
character  substituted.  The  Child  also  in  its  change  of  location  acquired  a 
loin  cloth.  Some  accidental  markings  in  the  Berwind  relief  are  not  visible 
in  the  illustration  of  the  Gavet  relief.  It  appears  to  me  probable  that  both 
the  Gavet  and  the  Berwind  medallion  are  modern  casts  from  the  mould 
taken  by  Lelli  from  the  Madonna  in  the  lunette  of  S.  Jacopo  a Ripoli. 


GIOVANNI  DELLA  ROBBIA 


178 

Bibl.  : 

M.,  D.  R.  A.,  127,  Fig.  52;  Molinier,  Cat.  Gaz’et,  No.  16,  Piate  8. 

182  MADONNA  AND  SAINTS  JACOPO  AND  DOMENICO.  Flor- 
ence. S.  Jacopino  in  Polverosa  (formerly).  Lunette.  H.,  0.70m.; 

W„  im. 

This  church,  like  S.  Jacopo  di  Ripoli,  belonged  to  the  Dominican  church 
S.  Maria  Novella.  Over  the  door,  on  the  exterior,  then  removed  to  the  in- 
terior, was  a lunette  with  narrow  fruit  frame  containing  a composition 
similar  to  that  at  S.  Jacopo  di  Ripoli  but  somewhat  modified  and  rendered 
in  polychromy.  Here  S.  Jacopo  in  green  robe  and  violet  mantle  held  his 
staff  in  his  right  hand  and  a book  in  the  left;  the  Madonna,  in  violet  and 
blue  holds  the  Child  to  the  left.  S.  Domenico  looked  more  natural  in  his 
black  gown.  The  faces  were  glazed  flesh  colour.  The  lunette  was  stolen 
in  1905. 

Bibl.  : 

A.  c.  S.,  XXIV  (1905),  142;  C-M.,  250  No.  287;  Rass.  bibl.  arte  ital., 

vili  (1905),  175- 

183  MADONNA  AND  CHILD,  S.  GIOVANNINO,  ANGELS  WITH 

CROWN.  1523.  Paris,  Lowengard  Gallery  (formerly).  Altarpiece. 

H.,  2.07m.;  W.,  i/i7m.  Photo.,  Private. 

This  altarpiece  (Fig.  128)  was  set  up  in  1523  in  honour  of  Giovachino 
di  Filippo  Macinghi,  probably  by  his  wife  Francesca  di  Manfredi  de’Rossi, 
to  whom  he  was  married  in  1482. 

The  central  relief  shows  the  Madonna,  in  violet  with  mantle  of  blue 
lined  green,  a cherub  brooch  and  a star  on  her  shoulder,  seated  on  a yellow 
throne  panelled  in  imitation  of  variegated  marble,  holding  a nude  Child 
who  stands  on  a cushion  holding  a bird,  and  blessing.  In  front  of  the 
throne  is  the  kneeling  S.  Giovannino  with  flaming  nimbus,  holding  a scroll 
inscribed  ECCE  AGNVS  DEI;  back  of  it  a curtain  embroidered  with 
Robbia  pavement  pattern,  over  which  two  angels,  in  white  with  horizontally 
striated  wings,  holding  lilies,  bear  a jewelled  crown  over  which  is  the  Holy 
Dove  emitting  yellow  tongues  of  fire.  The  base  of  the  throne  is  inscribed 
y SVB  TVVM  PRESIDI VM  CONFVGIM VS  • SANCTA  ■ DEI  ■ GENE- 
TRIX 

The  predella  at  either  end  contains  enwreathed  the  Castello  di  Vinci  or  the 
Rossi  arms:  Argent  with  castle  embattled  and  flanked  by  a tower  gules; 


GIOVANNI  DELLA  ROBBIA 


179 


in  the  centre,  also  in  a wreath  of  fruit  and  flowers,  the  Macinghi  stemma  : 
Gules,  three  moons  increscent  or,  2 and  1,  crossed  by  a bend  azure  charged 
with  three  lilies  or;  on  either  side  of  the  central  stemma  is  a tabella  ansata 
inscribed  respectively 


(1)  y AL  TEMPO  ► DI  ► 

GIOVACHINO 
MACIGNI  + 

and  (2)  y P(ODEST)A^  AN(N)0^  D(OMI)NI^  NO 
STRI  ► IH(ES)  V ► XR(IST)  ► 

JM^D^XXIII  + 

The  frame  has  an  inner  egg  and  dart  moulding  and  an  outer  garland  of 
fruit  and  flowers  rising  from  the  base  toward  the  top  where  is  the  usual 


i8o 


GIOVANNI  DELLA  ROBBIA 


garland  holder,  from  which  the  fruit  emanates  as  if  for  pendent  garlands. 

The  composition  of  the  garland  shows  an  unbroken  series  of  chiefly  triplex 
bunches  with  transverse  white  flowers  at  irregular  intervals. 

Giovachino  Macinghi  had  been  Capitano  at  Livorno  in  1502,  and  Po- 
destà at  Fiesole  and  Sesto  in  1503.  In  1523  he  was  Podestà  at  the  Cas- 
tello di  Vinci,  as  is  shown  by  the  annexed  Document. 

Document  : 

“Potàs  Vincis  Cu  Duobus  Notorijs 

Tribus  familis  cu  sal(ario) 

uno  equs  lib.  500  a d(i)c(t)a 

p(otestate) 

Jhoachinus  filippi  Johachinj  d(e)  macinghis  p(er)  6 mensibus  22  junii 

1523” 

[Arch,  di  Stato.  Registrimi  Extrinsecorum,  1505-1529,  segnato  Tratte 
Cod.  71  c.  61.] 

Bibl.  : 

Ancisa,  DD,  291  ; C.,  s.v.  Macinghi  ; Deneken,  Z.  f.  chr.  K.,  VI  ( 1893), 

354;  M.,  R.  H.,  258-259;  P.,  368;  707;  Wills,  150. 

184  MADONNA  AND  CHILD  AND  SAINTS.  Finalpia  Savona. 

Church.  Niche  and  lateral  figures.  H.,  1.62m.;  W.,  2.25m.  Pb  to., 

Private. 

Within  a niche  framed  with  continuous  pendent  garlands  of  coarse  fruit 
is  a full  length  seated  Madonna,  holding  on  her  lap  and  suckling  a nude 
Child  seated  on  a cushion  (Fig.  129).  To  the  left  of  the  niche  is  a kneel- 
ing figure  of  S.  Matteo,  holding  a book  open,  to  the  right  also  kneeling,  S. 

Giovanni  holding  book  open.  The  figures  and  frame  are  polychromatic. 

By  a pupil  of  Giovanni  della  Robbia.  . , 

<l  q c x 'S'  ca-I  C W «eA  v ^ ^ , H'* 

185  MADONNA  AND  CHILD  AND  SAINTS.  Pratovecchio.  Borgo 
di  Mezzo. 

A crude  polychromatic  relief  of  the  seated  Madonna  and  Child  between 
standing  figures  of  S.  Giovanni  Battista  and  S.  Sebastiano. 

Bibl.  : 

Burl.,  1 16;  C-M.,  246  No.  258;  Cr.,  353. 


GIOVANNI  DELLA  ROBBIA 


181 


Fig.  129.  Madonna  and  Saints,  Finalpia  Savona. 


186  MADONNA  AND  CHILD  WITH  S.  GIOVANNINO.  Pratovec- 
chio. Piazza  Aurora  and  Via  Maestro,  Casa  Brocchi.  H.,  c.  o.óom.  ; 
W.,  c.  0.40m. 

The  Madonna  seated,  wears  a maroon  tunic  and  mantle  of  blue  lined 
green.  Faces  imitate  flesh  colour.  Clouds  are  dark  blue  and  yellow.  To 
the  left  S.  Giovannino  in  green  hair  cloth  kneeling.  A winged  cherub  on 
each  side  of  the  Madonna. 

Bibl.  : 

Burl.,  1 16;  C-M.,  246  No.  257;  Cr.,  253. 

187  MADONNA  AND  CHILD  AND  S.  GIOVANNINO.  Finalpia- 
Savona.  Church.  Round-headed  altarpiece.  H.,  2.40m.,  W.,  1.23m. 
Photo.,  Private. 

Here  is  represented  by  a follower  of  Giovanni  della  Robbia  a seated 
Madonna,  three  quarter  length,  holding  to  left  a nude  Child  seated  on  a 
cushion  (Fig.  130).  To  the  right  is  a half  figure  of  S.  Giovannino  in 
hair  cloth,  holding  a scroll  inscribed  ECCE  AGNVS  DEL  Above  the 
Madonna’s  head  is  a Dove  emitting  flames  through  a crown  upheld  by  two 


GIOVANNI  DELLA  ROBBIA 


182 

angels  who  also  hold  lilies.  Compare  the  Lowengard  Madonna  of  1523. 
The  frame  has  pendent  garlands  springing  from  a central  holder  and  com- 
posed of  fruit  arranged  in  groups  of  five.  A coarse  inner  rope  moulding 
completes  the  frame.  The  predella  shows  at  either  end  the  Olivetani  arms  : 
Azure,  a mount  of  three  tops  argent  surmounted  by  a cross  gules,  and  two 


Fig.  130.  Madonna,  Finalpia  Savona. 

lateral  olive  trees  natural.  Between  them  are  three  reliefs  (1)  S.  Benedet- 
to, (2)  Christ  in  the  Sepulchre  upheld  by  his  mother  and  S.  Giovanni,  (3) 
S.  Bernardo.  Below  is  a console  with  winged  cherubs  upholding  the 
Olivetani  arms  between  two  cornucopias  of  fruit. 

Above  all  is  the  inscription  : 

NON  SCA(N)DAT  SCA(N)DENS  NON  SCANDENS  SCANDIT  IN 
TVM 

Diserro  NON  SCANDENS  SCANDERE  SCANDIT  IN  .... 

The  monastery  at  Finalpia  belonged  to  the  Olivetani  from  1477-1845. 

Bibl.  : 

M.,  R.  H.,  274. 


GIOVANNI  DELLA  ROBBIA  183 

188  MADONNA.  S.  Quirico  d’Orcia.  Collegiata,  SS.  Quirico  e Giulit- 
ta.  Statue. 

Brogi  describes  this  as  a Madonna  della  Consolazione,  holding  a book 
in  her  left  hand  and  pressing  her  right  to  her  breast,  and  as  of  the  manner 
of  Giovanni  della  Robbia. 

Bibl.  : 

Brogi,  Inv.,  532. 


189  NATIVITY  AND  ADORATION  BY  THE  SHEPHERDS.  Ca- 
sole  in  Val  d’Elsa.  Collegiata.  Altarpiece.  H.,  3.10m.;  W.,  2.45m. 
Photo.,  Brogi,  13613. 

The  Collegiata  at  Casole  is  dedicated  to  S.  Maria  Assunta.  It  is  how- 
ever, not  the  Assumption  but  the  early  history  of  the  Virgin  that  are  repre- 
sented here  (Fig.  131).  In  the  predella  are  depicted:  (1)  the  meeting  of 
S.  Gioacchino  and  S.  Anna  at  the  Golden  Gate,  (2)  their  marriage  and 
the  rejected  suitors,  and  (3)  the  Birth  of  the  Virgin.  These  are  followed 
chronologically  by  the  Annunciation  and  the  Nativity — which  share  the 
central  space  of  the  altarpiece.  These  two  scenes  are  brightly  painted,  but 
not  glazed.  The  Annunciation  recalls  Giovanni's  lunette  in  the  Museo 
Nazionale  (No.  78),  and  the  Nativity,  his  signed  and  dated  (1521)  altar- 
piece  in  the  same  museum  (No.  25).  The  decorative  mouldings  which 
separate  the  two  scenes  recall  the  architrave  of  the  altarpiece  at  Lampo- 
recchio. 

The  glazed  frame  shows  a strong  influence  from  Giovanni,  in  the  blue 
dolphin  handled  vases,  the  quadrangular  bunches  of  triplex  fruit  and  flow- 
ers against  a white  ground  between  a guilloche  and  egg  and  dart  mould- 
ings. But  the  sculptor  here  was  even  keener  for  the  introduction  of  ani- 
mal life.  We  find  amid  the  fruit  and  flowers  birds,  lizards,  frogs,  a snake, 
a crab  and  a snail. 

At  either  end  of  the  predella  are  undetermined  arms  : Gules , a bend  azure 
charged  with  a leaf  vert,  accompanied  by  two  cross  bows. 

Bibl.  : 

Brogi,  Inv.,  53;  M.,  R.H.,  275. 


GIOVANNI  DELLA  ROBBIA 


T O . 

i°4 


Fig.  131.  The  Nativity  and  Shepherds,  Casole,  Collegiata. 


GIOVANNI  DELLA  ROBBIA 


185 


190  GARLAND.  Colle  di  Val  d’Elsa.  S.  Maria  alle  Grazie. 

Brogi  catalogues  a polychromatic  garland  of  fruit  and  flowers  about  a 
window  in  S.  Maria  alle  Grazie,  at  Colle  di  Val  d’Elsa.  Because  of  its  prox- 
imity to  Casole,  where  there  is  a fine  altarpiece  by  some  associate  of  Gio- 
vanni della  Robbia,  we  may  suppose  this  garland  to  be  in  all  probability 
of  the  same  style  and  period. 

Bibl.  : 

Brogi,  Inv.,  168;  Cr.,  336. 

191  THE  NATIVITY.  Fiesole.  Monastery  of  S.  Francesco. 

According  to  Cavallucci-Molinier,  over  the  entrance  to  the  monastery  of 
the  Cappuccini,  and  to  Carocci,  over  an  inner  door  of  the  monastery  of  S. 
Francesco  there  is  a polychromatic  Nativity,  attributed  to  the  atelier  of 
Giovanni  della  Robbia. 

Bibl.  : 

Carocci,  I,  142;  C-M.,  232  No.  175. 

192  THE  VISITATION  AND  SAINTS.  1524.  Lamporecchio.  S. 

Stefano.  Altarpiece.  H.,  3.30m.  ; W.,  2.90m.  Photos.,  Alinari, 

10288;  Brogi,  4877-4878. 

A document  copied  by  Pasquale  Cecconi  in  1587  shows  that  on  the  30th 
of  March  1524  the  people  of  the  Pieve  of  S.  Stefano  at  Lamporecchio  regis- 
tered a vow,  after  a pestiferous  visitation  of  the  plague,  to  erect  an  altar- 
piece  to  S.  Maria  as  “madre  di  misericordia,  speranza  dei  peccatori,  con- 
solazione degli  afflitti,”  and,  as  assistant  intercessors,  to  S.  Sebastiano  and 
S.  Rocco,  and  to  make  special  festivals  of  the  days  set  apart  for  the  re- 
membrance of  the  Visitation  and  of  the  Assumption.  Methods  of  provid- 
ing the  money  to  pay  for  the  altarpiece  were  also  decided  upon.  The  con- 
tract with  the  artist  is  not  preserved,  but  we  must  believe  that  not  long  after 
the  registration  of  this  vow  Giovanni  della  Robbia  received  a commission 
to  make  the  altarpiece  (Fig.  132). 

The  central  relief  shows  the  Visitation,  based  on  Luca’s  Visitation  at 
Pistoia,  but  in  Giovanni’s  style,  with  faces  and  hands  unglazed,  and  col- 
oured in  his  manner.  The  Virgin  Mary  is  robed  in  brownish  violet  with 
cloak  of  blue  edged  yellow  held  together  by  a characteristic  form  of  brooch. 
S.  Elisabetta  wears  also  a violet  robe,  over  which  is  a mantle  of  yellow 
lined  green.  To  the  left  is  S.  Sebastiano,  pierced  with  six  arrows,  stand- 


xxxvx  vx  )ixm  ix  ix  xxxx  m u ix  ix  u ix  \x 

■ ........ 


VX.  VX  72X.  t* 


ji/aMj, 


Fig.  132.  The  Visitation  and  Saints,  Lamporecchio,  S.  Stefano. 


GIOVANNI  DELLA  ROBBIA 


187 


ing  against  a tree  looking  upward  serenely.  A polychromatic  angel  places 
a crown  and  palm  branch  on  the  head  of  the  martyr.  Even  the  colouring  of 
his  eyes,  linear  eyebrows  and  lashes  of  dark  violet  and  no  distinction  of 
pupil  and  iris  are  in  Giovanni’s  style.  To  the  right  is  S.  Rocco,  dear  to 
those  who  had  suffered  from  the  plague,  dark  haired,  robed  in  violet  lined 
green,  and  wearing  blue  socks  and  soft  brown  boots.  An  angel  flies  toward 
him  with  a loaf  of  bread.  Above  the  Visitation  group  is  the  Holy  Dove 
emitting  yellow  tongues  of  flame.  Above  this  panel  a narrow  band  bears 
this  inscription  : 

J ET  VNDE^HOOMIH>VT  VENIAWMATER^DOMINI 
MEI*AD  ME+'iv'  (from  Luke  I,  43). 

The  predella  shows  at  the  extremities  representations  of  S.  Stefano 
patron  saint  of  the  church,  and  S.  Giovanni  Battista,  patron  of  Florence. 
The  central  portion  shows  two  tabellac  ansatae  inscribed  : 

(1)  y MAGNIFICAT  A(N)IMA  MEA 
DOMINVM^ET  EXVL 

TAVIT  SPIRITVS  MEVS 

I(N)  DEO  SALVTARI  MEO+  (St.  Luke,  I,  46-47)  ; and 

(2)  y BENEDICT  A TV^ 

INTER  MVLIERES^ET 
BENEDICTVS  FRVCTVS 
VENTRI S TVI  + (Luke  I,  42)  ; 

being  the  exclamation  of  the  Virgin  and  of  S.  Elizabeth  at  the  time  of  the 
Visitation.  Between  the  tablets  is  a relief  of  the  Annunciation  between 
figures  of  S.  Pietro  and  S.  Paolo. 

The  pilasters  are  adorned  in  front  in  a very  unusual  manner  with  abbre- 
viated scenes  of  the  Passion,  ( 1 ) to  the  left,  Washing  of  hands  by  Pilate, 
Blindfolding  of  Christ,  Denial  of  Peter,  Capture  of  Christ,  Peter  cuts  off 
ear  of  Malchus,  Betrayal  and  kiss  of  Judas,  Gethsemane;  (2)  to  the  right, 
Gethsemane,  S.  Veronica’s  handkerchief,  Christ  bearing  His  cross,  the  two 
thieves  bound,  the  hammer  and  pincers,  Christ  bound  and  led  away  to  be 
crucified.  The  exterior  sides  of  the  pilasters  are  ornamented  with  fruit 
and  flower  garlands,  arranged  chiefly  in  triplex  contiguous  groups  rising 
from  blue  dolphin  handled  vases;  the  inner  sides  show  yellow  candelabra  of 
complex  design.  The  capitals  are  of  Giovanni’s  usual  dolphin  and  vase 
type,  and  the  entablature  while  its  architrave  and  cornice  recalls  that  at 
S.  Luchese  near  Poggibonsi,  has  a frieze  of  cherub  heads,  garlands,  and 
yellow  shells  in  the  execution  of  which  Era  Mattia  della  Robbia  may  have 
had  some  share. 

On  the  top  of  the  entablature  are  two  adoring  angels  in  blue  green  and 
yellow,  on  either  side  of  the  Resurrected  Christ,  blessing,  above  a sarco- 
phagus adorned  with  yellow  and  blue. 


GIOVANNI  DELLA  ROBBIA 


188 

Document:  [Quoted  from  Anseimi,  Arte  e Storia,  1886,  185.) 

“In  nomine  dni  nostri  Iesu  Christi  anno  ab  ejus  de 
•incarnatione  MCCCCCXXIIII  die  trigesima  martii.  Con- 
siderado  el  populo  di  Santo  Stefano  alla  pieve  di 
lamp0  essere  agravato  per  la  moltitudine  de 
peccati  e vededo  li  circustati  populi  p(er)  loro 
peccati  essere  da  pestifero  flagello  p(er)  cossi  et 
cotinamete  da  pesti  tormetati  et  afflitti.  Temedo 
loro  che  idio  p(er)  li  esi  lor  peccati  no  habbia 
ancora  a quelli  serbato  el  sopradetto  flagello 
videlice  di  peste  dapoichè  personalmete  ciascheduno 
a piedi  del  sacerdote  anno  humilmete  le  loro 
iniquità  confessate  e dipoi  bechè  idegniamete 
al  sacratissimo  corpo  di  Jesu  nro  salvatore  si 
sono  acostati  hanno  finalmete  nelle  loro  meti 
deliberato  e fermo  proposito  fatto  acciochè  Iddio 
quelli  da  tato  flagello  habbia  a guardare  apresso  esso 
salvatore  nro  mettere  un  nuovo  itercessore  et 
Cosiderado  loro,  no  hanno  trovato  ne  pensare 
potuto  essere  alcuno  degniamete  da  Dio  esaldito  et 
cosi  sia. 

O Maria  dolcissima  impero  chè  tu  se  madre  di 
misericordia  speraza  de’  peccatori  consolatone  degli 
affitti  e che  più  Madre  del  Nro  Salvatore  alla  quale 
sappiamo  il  tuo  figlio  niente  negare  et  pertato  a te 
ricoriamo  come  pecore  senza  guida  et  nave  seza 
nochieri  te  preghiamo  che  per  noi  cotinuamenti 
apresso  al  tuo  diletto  fig.  Interceda  e acciò  che  più 
degniamete  da  lui  e da  te  siamo  esauditi  il  ss°  detto 
populo  fa  voto  a te  Maria  dolcissima  adi  due 
di  luglio  Inperpetuum  la  festa  sacratissima  della 
tua  santissima  Visitazione  ad  Elisabet  come  la  festa 
della  tua  Santissima  Assunzione  Guardare  e tal  dì  a 
honor  tuo  detta  festa  celebrare  devotamete  co  quel 
n°  de  preti  chi  si  potrà.  Et  ancora  fa  voto  di 
fare  una  tavola  a honore  tuo  e delli  Satissimi 
Sebastiano  e Rocco  i quali  teco  Maria  saranno 
itercessori  apresso  el  tuo  fig.  el  ss.  detto  populo. 

Et  per  tanto  fare  i pn  p(er)  la  ss.  festa  sobbriga 
Ciascheduno  capo  di  casa  videlice  per  ciascheduno 
fuoco  pagare  per  ciascheduno  anno  i tai  di  soldi 
due  et  ancora  ogni  ultima  domenica  del  mese  si 


GIOVANNI  DELLA  ROBBIA 


189 


piglierà  l’offerta  per  detta  festa  alla  quel  cosa 
preghiamo  ciascheduno  da  parte  della  Gloriosa  Vergine 
Maria  no  neghi  essere  alcuna  cosa  a questo  repugniante. 

In  quato  a fare  dette  tavuole  al  presete  si  costituirà 
due  huomini  quali  andrano  cercando  elemosine  per 
dette  tavole  i quali  preghiamo  huomini  e done 
che  quello  che  desidera  da  simil  flagello  esse  libero 
si  degni  di  quelle  facilità  che  Dio  glia  cocesso  farne 
partecipi  li  ss.  satissimi  baroni  videlice  Mari 
Vergine  gloriosa  et  Sebastiano  e Rocco  et  quelle  limosine 
che  si  raccorano  al  presete  si  darano  per  arra 
al  dipintore  overo  M°  che  fara  detta  tavola  di 
poi  aricolta  si  andrà  sulaie  acattare  per  esse 
tavole,  et  ancora  i sularicolta  dell’  olio  medesi- 
mete  sadrà  acattare  intato  che  essa  tavola  si  paghi 
et  se  alcuna  cosa  ci  mancherà  si  metterà  in  tato 
per  huomo  tato  che  si  finisca  di  pagare  pregado 
chiascheduno  da  parte  di  Dio  e della  sua  cara 
madre  Maria  e delli  santissimi  baroni  Bastiano 
e Rocco,  ciascheduno  che  desidera  come  è detto 
di  sopra  essere  da  tato  flagello  libero  a tutte  le 
sopradette  cosa  dar  favore  e co  ogni  sua  possibilità 
quelle  aiutare.” 

The  original  decree  is  not  known  to  exist,  but  its  contents  as  above  given 
were  copied  July  2,  1587  by  Pievano  Pasquale  Cecconi  of  Lamporecchio. 
He  notes  that  the  original  was  written  by  the  priest  Dante  Masi  the  prede- 
cessor of  the  priest  Nettore  di  Piero  Torrigiani,  Rector  of  Porciano. 

Bibl.  : 

Anseimi,  A.  c S.,  1886,  185  seq.  (Doc.)  ; Burl.,  1 1 4 ; Carocci,  Il  Val- 
darno,  103;  C-M.,  138,  235  No.  189;  Cr.,  345;  R.,  D.  R.,  248;  Sc.  FI., 
IV,  60;  S.,  89,  Abb.  99;  Vas.,  II,  198. 

193  STATUES  OF  (1)  S.  SEBASTIANO  (H.,  1.30m.)  and  (2)  S. 
ROCCO  (H.,  1.55m.).  Campi.  S.  Martino.  Photo.,  Private. 

These  two  statues  are  similar  to  Giovanni’s  statues  of  the  same  saints 
on  the  Tabernacolo  delle  Fonticine  (1522)  or  on  the  altarpiece  at  Lampo- 
recchio (1524).  S.  Sebastiano  wears  a loin  cloth  of  violet  striped  yellow. 
His  hair  is  brown.  S.  Rocco  wears  a blue  mantle  with  green  collar  edged 
yellow.  He  wears  tight  fitting  violet  trousers,  lined  white,  and  boots  of 
mottled  green  and  violet. 


190 


GIOVANNI  DELLA  ROBBIA 


The  nudes  of  both  statues  are  crudely  overpainted  but  it  is  probable  that 
they  were  originally  glazed. 

Bibl.  : 

Burl,  113;  C-M.,  230  No.  154;  Cr.,  335. 

194  (1)  CIBORIO.  (2)  FRIEZE  WITH  SYMBOLS  OF  THE  PAS- 
SION. Convertose  (near  Greve).  SS.  Silvestro  e Cristofano. 

Cited  by  Miss  Cruttwell.  The  frieze  with  symbols  of  the  Passion  sug- 
gests the  altarpiece  at  Lamporecchio.  Possibly  from  Giovanni’s  atelier. 

Bibl.  : 

Cr.,  33 6;  Repetti,  s.v.  Convertose. 

195  THE  RESURRECTION.  Brooklyn.  Museum  of  Brooklyn  Insti- 
tute. Lunette.  H.,  1.56m.;  W.,  3.64m.  Photo.,  Museum. 

This  lunette  (Fig.  133)  came  from  the  Villa  Antinori  at  Colombali,  or 
Le  Rose,  a few  miles  out  of  the  Porta  Romana,  Florence.  This  villa  for- 
merly belonged  to  the  de’Rossi  family,  but  in  1487  passed  into  the  possession 
of  Niccolò  di  Tommaso  Antinori  and  has  remained  in  the  hands  of  the 
Antinori  family  to  this  day.  Niccolò  was  one  of  the  Priors  of  Florence  in 
1483,  1497,  I5°I  and  Gonfaloniere  in  1514.  His  son  Alessandro  was  a 
Prior  in  1523.  Lienee  the  donor  with  folded  hands  behind  the  sarcophagus 
is  likely  to  have  been  either  Niccolò  or  possibly  his  son  Alessandro. 

The  central  relief  represents  the  risen  Christ  in  the  presence  of  the  donor 
and  of  the  soldiers.  Christ,  whose  body  forms  a Praxitelean  curve,  is  bless- 
ing and  holding  a crusader's  banner.  His  hair  is  mustard  yellow,  his  face 
whiter  than  that  of  his  attendants,  his  robe  brown,  and  his  mandorla  has 
tongues  of  yellow  dames  against  a light  blue  ground.  His  eyes  have  dark 
linear  brows,  lashes  and  pupils  without  distinction  of  irises.  In  type  he 
resembles  the  statuette  set  above  the  altarpiece  at  Lamporecchio  (1524). 
Of  the  four  soldiers,  one  is  still  slumbering,  one  just  awakened,  one  like 
Laocdon  struggling,  a fourth  prepared  for  defense.  Their  breastplates  and 
shields  are  covered  with  heavy  ornament.  The  yellow  haired  donor  clad  in 
brown  cloak  with  sleeve  bands  of  white  fur  is  adoring  with  folded,  be- 
ringed  hands.  In  the  background  is  a carelessly  modelled  and  painted  land- 
scape and  two  polychromatic  adoring  angels  with  wings  striated  in  Gio- 
vanni’s customary  manner. 

The  frame  consists  of  garlands  of  triplex  or  quinqueplex  bunches  of 
fruit  interspersed  with  flowers,  lizards,  snakes  and  squirrels.  On  the  frame 


GIOVANNI  DELLA  ROBBIA 


191 


Fig.  133.  The  Resurrection,  Brooklyn,  Museum. 


192 


GIOVANNI  DELLA  ROBBIA 


also  is  a white  Dove  descending  toward  the  risen  Christ.  At  each  lower 
extremity  of  the  frame  is  the  Antinori  stemma  : Or,  a chief  lozengy  of  four 
tracks  azure  and  of  the  field.  The  stemmi,  framed  in  egg  and  dart  mould- 
ings, are  the  starting  points  from  which  the  garlands  proceed  until  they 
meet  at  the  summit  and  at  the  centre  of  the  base. 


Bibl.  : 

Carocci,  II,  310;  Galluzzo,  114;  C.,  s.v.  Antinori;  Cr.,  329;  M.,  D.  R. 
A.,  106-111,  Fig.  44;  R.  H.,  266-267;  Wills,  126. 

196  STEMMA  OF  RAFFAELLO  CORBINELLI.  1524.  Certaldo, 
Pretorio.  Photo.,  Alinari,  8534. 


Fig.  134. 

Within  a wreath  composed  of  triplex  branches  of  fruit  and  flowers  and 
an  inner  egg  and  dart  moulding,  set  against  a fluted  disk  is  a Tuscan  shield 
(Fig.  134)  bearing  the  Corbinelli  arms:  Azure,  a stag  salient  argent.  Be- 
tween the  forelegs  of  the  stag  an  escutcheon  gules,  bearing  a cross  crosslet. 
Below,  a winged  cherub  unfolds  a curved  scroll  inscribed  : 
y RAPHAELLO 
DI  PANDOLFO 
CORBINELLI 

VIC(ARIO)  ► M*DXXIIII  + ^ 

Raffaello  di  Pandolfo  Corbinelli  was  a Prior  in  Florence  in  1515  and 
1518. 

Bibl.  : 

C,  s.v.  Corbinelli;  M.,  R.  H.,  263  264;  W.,  186. 


Stemma  of  Raffaello  Corbinelli. 


GIOVANNI  DELLA  ROBBIA 


193 


197  THE  VISITATION.  Fiesole.  S.  Ansano.  Lunette.  H.,  0.80m.  ; 
W.,  1.25m.  Photos.,  Alinari,  3283;  Brogi,  9836. 


FiCu  135.  The  Visitation,  Fiesole,  S.  Ansano. 


This  lunette  (Fig.  135)  is  one  of  the  works  brought  to  S.  Ansano  by 
Canon  Angelo  Maria  Bandini.  The  frame  consisting  of  triplex  bunches  of 
fruit  and  flowers  rising  from  blue  vases  was  evidently  broken  and  enlarged. 
The  central  group  consists  of  S.  Maria  clad  in  brown  with  long  blue  mantle 
saluted  by  S.  Elisabetta  in  green  robe  and  brown  mantle,  her  head  covered 
with  a white  cloth.  The  pose  of  both  figures  is  copied  from  Albertinelli’s 
painting  of  the  Visitation  (1503),  now  in  the  LTffizi.  Albertinelli  was  at 
work  at  S.  Marco  under  Fra  Bartolommeo  from  1508-1512  at  the  same 
time  that  some  of  the  Della  Robbias  were  in  that  monastery. 

Bibl.  : 

Burl.,  64,  1 14;  Carocci,  I,  118;  Cr.,  344;  R.,  D.  R.,  248;  Sc.  FI.,  IV, 
60;  v.  Rumohr,  II,  295  note;  Vas.,  194. 

198  THE  VISITATION.  Florence.  S.  Michele  in  Palchetto  delle 
Trombe,  later  known  as  S.  Elisabetta  or  Congrega  di  Preti  della  Visita- 
zione. 

The  old  church  of  S.  Michele  in  Palchetto,  known  also  as  delle  Trombe, 
since  the  trumpets  of  S.  Michele  resounded  there  every  Saturday  evening, 
was  given  over  in  1517  by  Pope  Leo  X to  the  Congrega  di  Preti  della 


194 


GIOVANNI  DELLA  ROBBIA 


Carità,  also  known  as  della  Visitazione.  The  frieze  of  the  entrance  door 
was  inscribed  CONGREGATIO  VISITATIONIS  PRESBITERORVM 
and  the  tympanum  contained  a relief  of  the  Visitation  attributed  by  Del 
Migliori,  Richa,  and  Cocchi  to  Andrea  della  Robbia.  The  high  altar  was 
decorated  with  a painting  of  the  Visitation  by  Albertinelli.  This  little 
church  was  suppressed  and  destroyed  in  1785.  It  is  possible  that  the  lunette 
was  rescued  and  is  to  be  identified  with  that  now  preserved  at  S.  Ansano, 
Fiesole. 

Bibl.  : 

Cocchi,  199  ; Del  Migliore,  404;  Richa,  Vili,  268. 

199  STEMMA  OF  ANTONIO  PAZZI.  1525.  S.  Giovanni  in  Val- 
darno,  Palazzo  Pretorio.  Photo.,  Private. 


Unframed,  on  a late  Tuscan  shield  (Fig.  136)  are  the  Pazzi  arms  : Azure, 
two  dolphins  hauriant,  embowed,  addorsed  or,  and  five  crosses  botonny, 
fitched  of  the  same. 

Below  is  a rectangular  tablet,  framed  with  plain  mouldings,  inscribed: 


GIOVANNI  DELLA  ROBBIA 


195 


J ANTONIO  DI 
GVGLIELMO  DE 

PAZZI  ► V(I)C(ARI)0  ► M^DKXXV 

Antonio  di  Guglielmo  di  Antonio  di  Messer  Andrea  dei  Pazzi  was  born 
in  1460,  became  a banker  in  Rome,  was  Prior  in  Florence  in  1516,  Gonfalo- 
niere in  1521,  Vicario  at  S.  Giovanni  in  Valdarno  in  1525,  and  died  in  1528. 

Bibl.  : 

C.,  s.v.  Pazzi;  Litta,  s.v.  Pazzi,  Tav.  9;  M.,  L.  D.  R.,  161-163;  R.  H., 

273;  P.,  146-147;  W.,  162-164. 

200  ANNUNCIATION,  ASSUMPTION,  VISITATION,  STEMMI. 

1525-1529.  Pistoia,  Ospedale  del  Ceppo.  Medallions.  Diam.,  1.20m. 

Photos.,  Alinari,  10276-10280;  Brogi,  4561-4563. 

The  Ceppo  Hospital  at  Pistoia  was  an  offshoot  of  the  S.  Maria  Nuova 
Hospital  in  Florence.  Messer  Lionardo  di  Giovanni  Buonafede,  Spedalingo 
of  S.  Maria  Nuova  became  the  first  superintendent  of  the  hospital  at  Pis- 
toia. In  1512  the  Ceppo  Hospital  was  provided  with  a loggia,  which  in 
its  general  lines  follows  those  of  the  Innocenti  and  S.  Paolo  Hospitals  in 
Florence.  I am  inclined  to  believe  that  the  terra-cotta  decoration  was  at 
first  limited  as  in  Florence,  to  medallions  for  the  spandrels  of  the  arches. 
These  medallions  are  manifestly  by  Giovanni  della  Robbia  and  differ  both 
in  style  and  colour  from  the  frieze,  which  seems  to  have  been  entrusted  to 
Santi  Buglioni,  who  had  previously  been  employed  by  Messer  Buonafede 
for  various  works  made  in  1521  for  the  church  at  Badia  Tedalda. 


Fig.  137.  Stemma  of  Ceppo  Hospital.  Fig.  138.  Stemma  of  Pistoia. 

We  may  describe  these  medallions  beginning  on  the  short  side  to  the  left, 
where  we  see  : 

I.  Half  medallion  (Fig.  137),  with  frame  composed  of  an  inner  egg 
and  dart  and  outer  fruit  and  flower  garland  of  quinqueplex,  contiguous 
bunches,  within  which  against  a blue  fluted  disk  is  a kite-shaped  shield  on 
which  is  painted  in  chief,  the  Ceppo  insignia,  Argent  six  sprouting  ceppi, 
brown;  in  base,  the  crutch  of  S.  Maria  Nuova,  brown  and  green. 


196 


GIOVANNI  DELLA  ROBBIA 


2.  Half  medallion  (Fig.  138),  similar  frame  and  disk,  a kite  shaped 
shield  bearing  the  insignia  of  Pistoia,  Chequey,  argent  and  gules. 

On  the  facade,  still  reading  from  left  to  right  we  see  : 

3.  Half  medallion,  similar  to  No.  1,  with  Ceppo  and  S.  Maria  Nuova 
insignia  combined. 

4.  Medallion  (Fig.  139)  with  frame  of  egg  and  dart  and  garland  of 


quinqueplex,  contiguous  bunches  of  fruit  and  flowers,  an  inner  frame  of 
Pistoia  checks,  a blue  fluted  disk  and  a scallopped  shield  with  the  Ceppo 
arms  : Or,  a mount  of  sprouting  olive  stumps  vert. 

5.  Medallion  of  the  Annunciation  (Fig.  140).  The  frame  consists  of 
quinqueplex,  contiguous  bunches  of  fruit  and  flowers  and  an  inner  egg  and 
dart  moulding.  S.  Gabriele  on  his  knees  is  robed  in  yellow  with  blue  collar 
and  sleeves,  wears  a wreath  of  roses,  has  polychrome  wings  horizontally 
striated  and  carries  a heavy  branch  of  lilies.  The  Annunziata  is  standing 
holding  a book,  robed  in  violet  with  mantle  of  blue  lined  green,  trimmed 
with  yellow.  Behind  her  is  a curtain  with  (restored)  ornament  of  Persian 
pattern  and  a high  bedstead  with  frieze  inscribed  ECCE  (ANCILLA) 
(D)OMINI  (St.  Luke,  I,  38).  The  Holy  Dove  is  overhead  in  a blaze  of 
yellow  glory.  The  exergue  of  the  medallion  is  inscribed 

J AN(N)0 ► D(OMI)N>  M^D^XXV  + 

6.  The  Medallion  of  the  Assumption  (Fig.  141  ).  The  hospital  was  dedi- 
cated to  S.  Maria  del  Ceppo  and  the  church  to  the  Assunta,  hence  the  As- 


Fig.  140.  The  Annunciation. 


Fig.  141.  The  Assumption. 


198 


GIOVANNI  DELLA  ROBBIA 


sumption  has  the  post  of  honour.  The  Madonna  robed  in  violet  edged  yel- 
low and  mantle  of  white  decorated  with  a Persian  ornament  is  seated  in  a 
yellow  mandorla  upheld  by  four  polychromatic  angels  and  surrounded  by 
blue  and  red  winged  cherubs.  The  frame  consists  of  a garland  of  irregu- 


Fig.  142.  The  Visitation. 


larly  quinqueplex,  contiguous  bunches  of  fruit  and  flowers.  On  the  An- 
nunciation frame  may  be  detected  a lizard  and  a frog;  here  beside  a lizard 
and  frog  there  are  three  snails. 

7.  Medallion  of  the  Visitation  (Fig.  142).  A coarsely  modelled  repre- 
sentation of  the  meeting  of  the  Virgin  and  S.  Elizabeth  in  the  presence  of 
two  friends,  polychrome  against  a light  sky  daubed  with  clouds.  In  the 
exergue  is  inscribed  beneath  the  Virgin  : 

J M(AGNIFICAT)+  A(NIMA)+  M(EA)+  D(QMINUM)+  (St.  Luke, 

I,  46), 

and  below  S.  Elizabeth  : 

B(ENEDICTA)  + I(N)  + M(VLIERIBVS)  + E(ST)  + F(RVCTVS)  + 
V(ENTRIS)  *T(VI)  (St.  Luke,  I,  42). 

The  garland  is  composed  of  quinqueplex,  contiguous  bunches  of  fruit  and 
flowers,  with  no  animals. 

8.  Medallion  with  the  Medici  Stemma  (Fig.  143).  The  outer  garland 
consists  chiefly  of  quinqueplex,  contiguous  bunches  of  fruit  and  flowers 


GIOVANNI  DELLA  ROBBIA 


199 


amongst  which  may  be  seen  a lizard  and  a frog.  Within  this  an  egg  and 
dart  moulding  frames  concentric  bands  of  white  and  red  (not  glazed)  which 
serve  as  a background  for  a scallopped  shield  containing  the  Medici  stemma  : 
Or,  five  torteaux  in  orle,  in  chief  a hurt  charged  with  three  lilies  or. 

9.  Half  medallion  with  Pistoia  stemma  similar  to  No.  2.  On  the  short 
side  to  the  right  there  are  no  half  medallions  with  Ceppo  and  Pistoia  arms 
corresponding  to  the  short  side  on  the  left,  but  on  the  upper  level  a com- 
bined Ceppo-Pistoia  stemma,  a documented  work  by  Benedetto  Buglioni. 


y to 


Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

1.  “c.  199  c.  CLXXXXVITIJ 

+ yhs  MdXXV  + yhs  MdXXV 

Giovanni  dandrea  della  Robbia  Giovanni  dandrea 

de  dare  dj  primo  di  settembre  di  chontro  de  avere 

1 tre  s x posto  f a uscita  c.  48  posto  avere  a libro  f c.  105 

1 3 s io.”  1.  3 — s io” 

[Archiv.  dello  Spedale  del  Ceppo,  Libro  del  Proveditore  (Debitori  e 
Creditori),  1524-1525,  segnato  E c.  199  e CLXXXXVIIIJ.] 


r 


2.  “c.  105 

+ yhs  MDXXV 
Giovan(n )j  dandrea  dia  Robbia 
da  spese  de  dare  per  uno 
suo  chonto  alibro  e c.  199  1.  3 sio” 


“c.  CV 

+ yhs  MDXXV 
Giovanni  di  chontro  de 
avere  posto  dare 

alibro  g c.  95  1 3 sio.” 


200 


GIOVANNI  DELLA  ROBBIA 


[Archiv.  idem,  Libro  idem,  1525-1526,  segnato  F c.  105.] 

3.  “c.  95  “c.  LXXXXV 

+ MDXXVJ  + MDXXVJ 

Giovali (n)j  dandrea  dela  robbia  Giovanni  di  chontro  de 

de  dare  per  resto  di  suo  avere  posto  dare 

chonto  allibro  F c 105  1 3 s io”  alibro  h c 95  I 3 s io” 

[Idem,  idem,  1526-1527,  segnato  G c.  95.] 

4.  “Adi  5 di  Febraio  (1527) 

Alo  spedale  di  s ma  na  1 quaranta  nove  màdatj  1.  49 

loro  p(er)  lazero  commesso  p(er)  conto  di  quello  della  robbia — 147 — 1 49 


A spese  di  Casa  1 quatro  s 17.  6 p(er)  gbla  (gabella)  di 
lib  200  di  Carco  di  firenze  3 zane  i°  quàto  di 
castro  6 st(aia)  di  fave  i°  tondo  dalla  rubie  da 
firenze  porto  lazero  detto — 197  1 4 176” 

[Idem,  Entrata  e Uscita  H.  1526-1527  c.  48*.] 

5.  “+  yhs  MDXXV 

Spedale  del  ceppo  di  pistoia  di  chonto  de  avere  . . . . 


E addi  iii°  di  febraio  1526  (Florentine  style)  f sette  doro  Inoro 
recho  lazero  fattore  e pacchollj  (pagò  li)  a giovanni 
dandrea  della  robia  debitore  alibro  debitorj 
segnato  I ac  163  f 7 s — ” 

[Archiv.  di  S.  Maria  Nuova,  Libro  Bianco,  1524-1535,  segnato  I c 
CCLXXXIL] 

6.  “c.  147 

+ yhs  MDXXVJ 

Spedale  di  s ma  na  di  chontro  deon  dare 


1527  E adi  v di  febraio  (Modern  style)  f sette  oro  mandati 
loro  a firenze  per  lazero  chomesso  per 
chonto  di  quello  dela  robia  a Uscita  c 48  1 49  oro.” 

[Archiv.  dello  Spedale  del  Ceppo,  Libro  del  Proveditore,  1526-1527,  seg- 
nato G c.  147.] 

Note.  The  above  record  from  the  Ceppo  Hospital  books  is  the  same 
transaction  recorded  in  Doc.  5. 


GIOVANNI  DELLA  ROBBIA 


201 


7.  “+  yhs  MDXXVIJ 

Spedale  di  santa  maria  del  ceppo  di  Pistoia 
de  dare  


E deono  dare  addj  detto  (21  di  novèbre  1527) 
f trenta  cinque  doro  Inoro  fatti  buoni  p(er)  loro 
a G‘  dandrea  della  robbia  creditore  allibro 
debitore  segnato  f ac  163  f 35-s” 

[Archiv.  S.  Maria  Nuova,  Libro  Azzuro  (1526-1534),  segnato  K c.  52.] 


8.  “c.  93 

+ yhs  MDXXVIJ 
Giovanni  dandrea  dela  robbia 
de  dare  a uno  suo  chonto 
alibro  G c 25  1 3 s io” 

[ Archiv.  dello  Spedale  del  Ceppo, 
nato  H c.  93.] 


“c.  LXXXXIII 
-f  yhs  MDXXVIJ 
Giovanni  di  chontro  de  avere 
per  tanti  posto  addare 
alibro  segnato  I c 94  1 3 s io” 

o del  Proveditore,  1527-1528,  seg- 


9.  “+  yhs  MDXXVIIJ 
Giovanni  dandrea  della  Robbia 
de  dare  per  tantj  posto  avere 
alibro  h ac.  93  1 3 s io” 

[Idem,  idem,  1528-1529,  segnato  I 


“+  yhs  MDXXVIIJ 
Giovanni  dandrea  di  chontro 
de  avere  posto  dare 
alibro  K ac.  92  1 3 s io” 

c.  94.] 


io.  “+  yhs  MDXXVIIIJ 

Giovanni  dandrea  della  Robbia 
de  dare  per  uno  suo  chòto 
alibro  segnato  I ac  94  1 3-s  io 

[Idem,  idem,  1529-1530,  segnato  K c.  92.] 


Bibl.  : 

B.  J.,  49-52,  83-87;  Carocci,  A.  I.  D.  /.,  V (1896),  Taf.  21;  C-M.,  125, 
127,  129,  150,  243  No.  235;  Contrucci,  277-280;  Cr.,  244-253,  330; 
Giglioli,  Pistoia,  87-94;  Gualandi,  Memorie  di  B.  A.,  Ser.  VI,  33;  M., 
Sc.  Mag.,  1893,  690,  693;  Br.  (1902),  222;  R.  H.,  267-270;  A.  J.  A., 
XXII  (1918),  361-377  (Doc.);  R.  G.  M.,  L’Arte,  XXI  (1918),  196 
IV  (Doc.)  ; R.,  D.  R.,  246,  248,  263;  Sc.  FI.,  IV,  p.  VII,  59-60;  Rus- 
kin,  IV,  300;  XX,  286;  Tigri,  Discorso  de  plastici  dello  spedale  di 
Pistoia,  Prato,  1833;  Guida  di  Pistoia,  196-200;  Vas.,  II,  197  Note. 

201  STEMMA  OF  BONGIANNI  DI  GHERARDO  GIANFIGLIAZZI 
AND  CATERINA  DI  PIERO  ADIMARI.  New  York,  Metropoli- 
tan Museum  of  Art.  Diam.,  1.92m.  Photo.,  Museum. 


202 


GIOVANNI  DELLA  ROBBIA 


Within  a polychromatic  frame  composed  of  quinqueplex  groups  of  fruit, 
flowers,  and  animalculi,  and  an  inner  white  egg  and  dart  moulding,  is  a 
white  fluted  shell  containing  a beribboned  late  Tuscan  shield  (Lig.  144) 
with  the  Gianfigliazzi  and  Adimari  arms.  The  dexter,  Gianfigliazzi,  arms 


Fig.  144.  Marriage  Stemma  of  Gianfigliazzi  and  Adimari. 


are  : Or,  a lion  rampant  azure.  The  sinister,  Adimari,  arms  are  : Per  fess 
or  (chief)  and  azure  (base).  A marriage  between  Bongianni  Gianfigliazzi 
and  Caterina  Adimari  took  place  in  1509,  but  this  stemma  appears  to  be 
of  later  date. 

Document:  [Copied  by  Mr.  Rufus  G.  Mather.] 

“Bongianni  di  Gherardo  di  Messer  Bongianni  Gianfigliazzi 
Caterina  di  Piero  Adimari  1509’’ 

[Arch,  di  Stato,  Carte  Pucci,  Sec.  XVIII.  Albero  della  Lamiglia  Gian- 
figliazzi.] 


GIOVANNI  DELLA  ROBBIA 


203 


Bibl.  : 

Bardini  Sale  of  1918,  Cat.,  No.  374;  Bull.  Met.  Mus.,  XIII  (1918), 
144-146;  C.,  s.v.  Adimari,  Gianfigliazzi  ; M.,  R.  H.,  269-271  ; W.,  124, 
142. 

202  THE  ANNUNCIATION.  S.  Miniato  al  Tedesco.  S.  Domenico. 
Photo.,  Alinari,  19267. 

This  Annunciation  (Lig.  145)  is  based  on  the  Annunciation  at  the  Ceppo 
Hospital,  Pistoia. 

S.  Gabriele  follows  its  prototype  in  most  details,  but  is  more  masculine 
and  less  intelligent.  The  Annunziata  also  resembles  the  Ceppo  Hospital 


Fig.  145.  The  Annunciation,  S.  Miniato  al  Tedesco. 


Virgin.  The  composition  is  staged  in  a room  with  coffered  ceiling  and  a 
window  through  which  is  seen  a landscape  and  a bust  of  God  the  Lather 
surrounded  by  cherubs.  The  Holy  Dove  is  scarcely  visible,  but  the  painted 
rays  of  light  suggesting  his  location  is  just  above  the  branch  of  lilies  car- 
ried by  S.  Gabriele.  Beside  the  stately  bedstead,  the  room  contains  a prie- 
dieu,  marriage  chest,  a wardrobe.  The  frame  consists  of  an  outer  garland 
of  triplex,  contiguous  bunches  of  fruit  interspersed  with  other  fruit  and 
flowers,  and  an  inner  bead  and  reel  moulding. 


204 


GIOVANNI  DELLA  ROBBIA 


Bibl.  : 

B.,  Kf.,  25;  Buri.,  1 1 7 ; Carocci,  Il  Valdarno,  90,  94;  C-M.,  252  No. 
298;  Cr.,  355;  Meyer,  Mittelitalien,  498. 

203  THE  ANNUNCIATION.  Paris.  Spitzer  Collection  (formerly). 
H.,  o.66m.  ; W.,  0.65m. 

According  to  the  description  this  polychromatic  relief  corresponds  in 
composition  to  that  of  the  medallion  in  S.  Domenico  at  S.  Miniato. 

Bibl.  : 

Spitzer  Cat.,  No.  1295. 

204  STEMMA  UNDETERMINED.  New  York  City.  Collection  of 
Mr.  George  Blumenthal.  Medallion.  Diam.,  0.72m.  Formerly  in 
the  von  Lanna  Collection,  Prague. 

Within  a garland  of  fruit  and  flowers  of  triplex  composition  and  an 
inner  white  egg  and  dart  moulding  is  a blue  fluted  disk  (Fig.  146)  against 
which  is  set  a late  Tuscan  shield  bearing  the  arms  : Or,  a bull  salient  gules, 
hoofed  and  horned  argent. 


Fig.  146.  Stemma  Undetermined. 


Bibl.  : 

V.  Lanna  Sale  of  1911,  Cat.  Voi.  II,  No.  574,  Taf.  41. 


GIOVANNI  DELLA  ROBBIA 


205 


205  MADONNA  AND  CHILD  HOLDING  A BIRD.  1525.  Lari. 
Castello,  Cappella  dei  Carceri.  Round-headed  relief.  H.,  1.60m.; 
W.,  o.8om.  Photo.,  Alinari,  8711. 


Fig.  147.  Madonna,  Castello  di  Lari. 


This  relief  (Lig  147),  the  prototypes  of  which  are  Andrea’s  Madonna 
at  S.  Egidio,  and  at  Rickmansworth,  follows  more  closely  the  Shaw  Ma- 
donna. The  forms,  however,  are  heavier  and  the  base  on  which  the  Child 
is  standing  imitates  red  porphyry.  The  eyes,  which  in  earlier  representa- 
tions followed  Andrea’s  conventions,  here  are  marked  only  with  dark 


206 


GIOVANNI  DELLA  ROBBIA 


violet  spots,  with  no  colour  for  brows,  lids,  or  irises.  Below  the  group 
is  a tablet  inscribed  AVE  • MARIA  • GRAZIA  PLENA  punctuated 
with  dots. 

The  frame  consists  of  a broad  fruit  and  flower  hanging  garland  of  close 
triplex  composition  with  no  separating  ribbons,  but  with  yellow  palmettes 
and  semi-palmettes  at  the  summit  and  springing  points  of  the  arch,  and  at 
the  base  on  each  side  a shield  bearing  the  Segni  arms  : Azure,  a fess  or, 
with  three  roses  of  the  same,  two  in  chief,  one  in  base. 

The  console  shows  two  white  cornucopias  with  polychrome  fruit,  be- 
tween them  a laurel  wreath,  tied  with  yellow  ribbons,  enclosing  the  Segni 
arms.  In  the  cortile  of  the  Castello  a similar  coat  of  arms  shows  that 
Alessandro  di  Piero  di  Mariotto  Segni  was  Vicario  in  1524  and  1525.  As 
Andrea  della  Robbia  died,  August  4,  1525,  in  his  eighty-ninth  year,  the 
relief  was  undoubtedly  executed  under  Giovanni’s  administration. 

Bibl.  : 

Bald.,  VI,  17-18;  B.  J.,  97;  Burl.,  1 1 5 ; C-M.,  134-136,  236  No.  190; 

Cr.,  345;  M.,  Sc.  Mag.,  1893,  684;  D.  R.  A.,  35;  R.  H.,  270-272; 

Repetti,  s.v.  Lari;  R.,  D.  R.,  203;  Sc.  FI.  Ill,  174;  Vas.,  194. 

206  STEMMA  OF  ANDREA  AND  PARTICINO  PARTICINI.  1526. 

Poppi.  Castello,  Cortile.  Photo.,  Alinari,  9793;  Cast,  Cantagalli, 

425  (detail). 

Within  a continuous  wreath  composed  of  triplex  and  quinqueplex 
bunches  of  fruit  and  flowers  and  an  inner  egg  and  dart  moulding  a red 
winged  cherub  supports  two  kite  shaped  shields  (Fig.  148),  which  rest  on 
either  side  of  a lily  plant  against  a blue  concave  plate.  Both  shields  bear 
the  Particini  arms  : Per  pale,  dexter  azure,  two  fleur-de-lys  or;  sinister, 
bendy  sinister  or  and  gules. 

Below  are  two  inscriptions  : ( 1 ) On  a tabella  ansata  supported  by  a 

winged  bust  of  a cherub  is  inscribed 

y ANDREA  • DI 
GIVLIANO 
PARTICINI 

V(  ICARI  )0  • M • D • XXVI 

At  the  end  of  the  date  is  a small  letter  G (Giovanni?).  (2)  A second 
tabella  ansata  supported  by  a winged  cherub  bust  is  inscribed 
y PARTICINO  • DI 
GIVLIANO  PAR 
TICINI-  V(I)CARIO 
CCCCLXXXVIIII 

Andrea  di  Giuliano  Particini  was  a Prior  of  Florence  in  1476. 


GIOVANNI  DELLA  ROBBIA 


207 


Fig.  148.  Stemma  of  the  P articini  Family. 

Bibl.  : 

M.,  R.  H.,  277-278;  P.,  738. 

207  STEMMA  OF  HIPPOLITO  BUONDELMONTI.  1526.  Pistoia, 
Palazzo  Pubblico.  Photo.,  Private. 

Within  a continuous  wreath  of  fruit  and  flowers  arranged  in  triplex 
bunches  a white  egg  and  dart  moulding  surrounds  a yellow  fluted  disk  on 
which  is  a Tuscan  shield  (Fig.  149),  with  pointed  head,  bearing  the  Buon- 
delmonti  arms:  Per  fess  azure  (chief)  and  argent  (base).  This  is  the 
ancient  as  distinguished  from  the  modern  stemma  of  this  family.  Both 
forms  occur  in  combination  on  the  shield  of  Antonio  di  Lorenzo  Buondel- 
monti  at  S.  Giovanni  in  Valdarno  in  1474-1475. 

Below,  a winged  cherub  holds  a curved  scroll  inscribed  : 
y HIPPOLITO  • DI- 
GIOVA(NNI)  BATISTA 
BVO(N)DELMONTI 
P(ODEST) A-  MDNXVI^ 

Hoppolito  di  Giovanni  Battista  di  Ghino  Buondelmonti  was  a Prior  in 
Florence  in  1509. 


208 


GIOVANNI  DELLA  ROBBIA 


SH/PPOLITODll 

faov/#cnsiji 

'BV0DELMONT1] 
P M DXXVjf 


Fig.  149.  Stemma  of  Hippolito  Buondelmonti. 

Bibl.  : 

C.,  s.v.  Buondelmonti;  M.,  R.  H.,  276-277;  P.,  827-828,  W.,  131. 

208  STEMMA  OF  LORENZO  LAPI.  1526.  Scarperia,  Palazzo  di 
Vicariato.  Photo.,  Private. 


Fig.  150.  Stemma  of  Lorenzo  Lapi. 

Within  a continuous  wreath  composed  chiefly  of  triplex  bunches  of  fruit 
and  flowers,  and  an  inner  egg  and  dart  moulding,  set  against  a fluted  disk 


GIOVANNI  DELLA  ROBBIA 


209 


is  a late  Tuscan  shield  (Fig.  150)  bearing  the  Lapi  arms:  Gules,  a fess 
a/rgent  charged  with  a lion  passant  sable. 

Below,  a winged  cherub  upholds  a horizontal  scroll  inscribed  : 
y LORENZO • DI 
TOMASO  LAPI  • 

V(  ICARI  )0  • E CHOMESARIO 
y M • D ■ XXVI  + ^ 

Bibl.  : 

C.,  s.v.  Lapi;  M.,  R.  H.,  279. 

209  BUST  OF  A CHERUB.  London,  Victoria  and  Albert  Museum. 

No.  72-’66.  Photo.,  Private. 

Bust  of  a cherub  placed  above  a cartouche  or  tablet.  The  uninscribed 
tablet  has  a blue  moulded  frame  and  in  form  lias  the  appearance  of  being 
the  two  wings  of  a tabella  ansata  brought  together. 

Bibl.  : 

C-M.,  268  No.  388;  Cr.,  345. 

210  DOVIZIA.  Minneapolis.  Institute  of  Arts.  Statuette.  H.,  0.67m. 

Photo.,  Private. 

This  statuette  (Fig.  1 5 1 ) , formerly  in  London,  passed  from  the  posses- 
sion of  Mr.  Charles  Butler  into  that  of  Mr.  Langton  Douglas,  from  whom 
it  was  acquired  in  1915  by  the  Art  Museum  at  Minneapolis.  It  was  pos- 
sibly inspired  by  the  marble  statue  of  Pomona  now  in  the  Uffizi  Museum. 

She  carries  on  her  head  a basket  of  polychromatic  fruit  and  in  her  left 
hand  a cornucopia  also  of  fruit.  Her  face  and  hands  are  white,  her  hair 
brown,  her  overrobe  blue  with  yellow  neckband  and  girdle.  To  the  right 
is  a nude  child  playing  with  a dog,  somewhat  similar  to  a stucco  group  in 
the  Berlin  Museum,  No.  102. 

The  pedestal  has  a light  yellow  top,  violet  edged,  yellow  leaves  at  the 
corners,  and  white  sides,  the  front  inscribed 

y GLORIA • ET  DIVITIE  IN-  DOMO  TVA  ^ 

Bibl.  : 

Breck,  Bull.  Minn,  Inst,  of  Arts,  IV  (1915),  110-112.  M.,  A.  in  Am., 

v (1917),  195-199- 


210 


GIOVANNI  DELLA  ROBBIA 


211  BOY  WITH  PUPPIES.  Berlin.  Kaiser-Friedrich  Museum,  No. 
102(1.1891).  Statuette.  H.,  0.43m.  Photo.,  Berlin  Museum. 


This  statuette  (Fig.  152)  in  stucco  may  have  been  derived  from  an 
original  by  Andrea  della  Robbia,  but  is  not  far  removed  in  style  from  the 
boy  and  a puppy  in  the  Dovizia  statuette  in  the  Minneapolis  Museum.  The 
boy  carries  two  puppies  in  the  folds  of  his  shirt  and  gazes  down  upon  their 
mother  who  is  suckling  two  others.  It  was  purchased  in  1891  in  Florence 
and  presented  by  Graf  Donhoff-Friedr'chstein. 


Fig.  151.  Dovizia,  Minneapolis  Museum. 


GIOVANNI  DELLA  ROBBIA 


21 1 


Fig.  152.  Boy  with  Puppies,  Berlin  Museum. 

Bibl.  : 

B.,  Denk.,  88,  Taf.  265;  FI.  Bildh.  230,  Lig.  126;  FI.  Sc.,  157,  Taf.  70; 
Labr.,  /.  k.  p.  K.,  XXX  (1909)  Beiheft,  20  No.  27;  Schottmiiller, 
44  No.  102;  V.,  VI.,  597,  Lig.  404. 


Fig.  153.  Judith,  New  York,  Bardini  Sale  of  1918. 


212 


GIOVANNI  DELLA  ROBBIA 


212  JUDITH.  New  York.  Bardini  Sale  of  1918.  Statuette.  H., 
0.50m. 

Glazed  white,  set  on  an  oval  base  on  which  is  inscribed  * IVDIT  + 
In  pose  and  style  this  statuette  (Fig.  153)  resembles  the  Minneapolis  Do- 
vizia. Her  right  arm  is  raised  to  balance  the  heavy  head  of  Holophernes 
which  she  carries  in  her  left  hand. 

Bibl.  : 

Bardini  Sale  Cat.  of  1902,  No.  515,  PI.  23;  Bardini  Sale  Cat.  of  1918, 
No.  371. 

213  DOVIZIA.  Paris,  Heilbronner  Galleries. 

Glazed  in  white,  but  carrying  a basket  of  polychromatic  fruit  on  her 
head.  She  carries  no  cornucopia,  but  some  fruit  in  her  right  hand.  At 
either  side  is  a putto,  one  seated,  the  other  standing.  This  suggests  that 
children  as  well  as  the  fruits  of  the  earth  make  rip  the  conception  of  Riches, 

Bibl.  : 

M.,  A.  in  Am.,  V (1917),  199. 

214  DAVID  WITH  THE  HEAD  OF  GOLIATH.  Berlin.  Kaiser- 
Friedrich  Museum,  No.  117  (I.  169).  Statuette.  H..  0.55m.  Photo., 
Museum. 


Fig.  154.  David,  Berlin  Museum. 


GIOVANNI  DELLA  ROBBIA 


213 


Acquired  in  1828  from  the  Bartholdi  collection.  David  holds  a stone 
in  his  left  hand  and  the  hilt  of  a sword  or  dagger  in  his  right  (Lig.  154). 
At  his  feet  is  the  head  of  Goliath.  Nudes  unglazed.  Breastplate  and  skirt 
are  blue,  ornamented  with  yellow  ; mantle  green.  The  white  oval  base  is 
inscribed  DAVIT  P(RO)P(HETA)  This  may  be  considered  as  a free 
variant  of  Verrocchio’s  bronze  David  in  the  Museo  Nazionale. 

Bibl.  : 

B.,  Kf.  26;  Bode  and  Tschudi,  44  No.  137  Taf.  5;  C-M.,  156  No. 
358;  Cr.,  333;  Schottmiiller,  50  No.  1 1 7 ; Tieck-Gerhard,  No.  671. 

215  BUST  OL  BACCHUS.  Llorence.  Bardini  Collection  (Sale  of 
1902).  H.,  0.49m. 


Fig.  155.  Bust  of  Bacchus,  Florence,  Bardini  Collection. 

This  fine  bust  (Fig.  155),  possibly  representing  some  young  Florentine 
as  a Bacchus,  is  to  be  attributed  to  Giovanni  della  Robbia.  The  poly- 
chromatic wreath  of  ivy  leaves,  flowers  and  grapes,  was  borrowed  from 
some  classic  head  of  Bacchus,  whereas  the  yellow  scale  armour  with  the 
lion  head  on  the  breast  plate  and  the  corrugated  shoulder  pieces  are  Floren- 
tine. The  tabella  ansata  at  the  base  suggests  Giovanni's  method  of  decora- 
tion. 

Bibl.  : 

Bardini  Sale  Cat.  of  1902,  No.  517,  PI.  24. 

216  BUST  OF  BACCHUS.  Paris.  Spitzer  Collection  (Sale  1893)  No. 

1292.  H.,  0.68m. 

The  description  tallies  with  that  in  the  Bardini  Sale  of  1902,  except  that 


214 


GIOVANNI  DELLA  ROBBIA 


the  height  is  given,  in  the  Bardini  catalogue  as  0.49m.  and  in  the  Spitzer 
catalogue  as  0.68m. 

Bibl.  : 

Spitzer  Cat.,  216  No.  1292. 

217  BUST  OL  BACCHUS.  Llorence.  Museo  Nazionale  No.  70. 

This  bust  represents  Bacchus  with  a wreath  of  violet  grapes  and  green 
leaves  on  his  head  wearing  a yellow  breastplate  ornamented  with  a lion’s 
head. 

Bibl.  : 

Burl.,  hi;  Cr.,  339;  Supino,  451  No.  70. 

218  RELIEL  BUST  OF  A WARRIOR.  Berlin.  Kaiser  Friedrich 
Museum  No.  188  (I.  2014).  Rectangular  relief.  H.,  0.59m.;  W., 
0.415m. 

This  relief  in  Verrocchian  style  purchased  at  the  Leclanché  sale  in  Paris, 
1893,  was  probably  designed  by  Giovanni  della  Robbia,  as  the  details — 
dolphin,  scale  ornament,  cherub  head,  etc.,  indicate.  The  face  is  milder 
than  that  of  the  Bartolommeo  Colleone,  the  helmet  and  breastplate  a dim 
reflection  of  Leonardo  da  Vinci’s  relief  of  Scipio.  The  head  is  set  against 
a blue  background  and  surrounded  by  Giovanni’s  characteristic  egg  and 
dart  moulding,  white  touched  with  yellow.  Variants  in  medallion  form 
are  in  the  Louvre,  and  in  the  Palazzo  Frescobaldi,  Florence. 

Bibl.  : 

Schottmuller,  79,  No.  188. 

219  HEAD  OF  WARRIOR.  Paris.  Louvre. 

A variant  of  the  Scipio  relief  in  the  Louvre  (Reymond,  Verrocchio,  p. 
57),  and  finer  than  the  similar  head  in  a rectangular  frame  in  the  Berlin 
Museum,  No.  188.  It  is  surrounded  by  an  inner  band  of  scale  ornament 
and  an  outer  narrow  wreath  of  fruit  and  flowers. 

Bibl.  : 

Miiller-Walde,  71  ; Schottmuller,  78  No.  188. 


GIOVANNI  DELLA  ROBBIA 


215 


220  HEAD  OE  WARRIOR.  Florence.  Palazzo  Frescobaldi.  Inner 
hall. 

A variant  of  the  Warrior  head  in  the  Berlin  Museum,  No.  188,  but  in 
medallion  form;  set  against  blue  background  and  surrounded  by  a fruit 
frame. 

221  TWO  CONSOLES.  Paris,  Louvre,  No.  438  (old  Nos.  G.  756, 
757).  H.,  0.25m.  Photo.,  Private. 

From  the  Campana  Collection.  Decorated  with  egg  and  dart,  plain  blue 
frieze,  cherub  heads  with  cornucopias,  lanceolate  leaves  and  scale  motive. 
Set  beneath  candelabrum  bearing  angels  No.  438. 

Bibl.: 

C-M.,  280  No.  466;  Cr.,  350. 

222  MADONNA  AND  CHILD  AND  SAINTS.  1526.  Arezzo.  SS. 
Annunziata.  Statues  in  niches  and  predella.  Photo.,  Alinari,  9713. 

In  the  church  of  the  Annunziata  built  by  Era  Bartolommeo  della  Gatta 
and  finished  by  Antonio  da  Sangallo  Vecchio  about  1525,  in  the  Spadari 


2IÓ 


GIOVANNI  DELLA  ROBBIA 


chapel  is  an  altarpiece  of  unusual  form  (Fig.  156).  On  a segment  of  a 
circle  are  three  niches  in  which  are  set  statues.  To  the  left  S.  Francesco 
pointing  to  his  wounded  side,  in  type  not  unlike  the  same  saint  in  the  Lam- 
entation group  in  the  Osservanza  at  Siena.  In  the  centre  is  the  Madonna 
enthroned  holding  on  her  knees  a chubby,  curly  headed  Child.  To  the  right 
is  S.  Rocco  pointing  to  his  plague  stricken  leg.  The  Madonna  and  the  S. 
Rocco  show  the  influence  of  Giovanni  della  Robbia.  Compare  the  altar- 
piece  in  the  Seminario  at  Fiesole,  the  Tabernacolo  delle  Fonticine,  and  the 
altarpiece  at  Lamporecchio. 

The  predella  contains  two  coats  of  arms  : dexter,  those  of  the  Compagnia 
dell'Annunziata  : a cross  set  on  an  omega  above  a large  letter  M;  sinister, 
the  Spadari  arms  : gules,  three  swords  in  pile  fanwise  argent,  in  chief  a 
label  of  Anjou.  The  accompanying  document  shows  that  the  altarpiece  was 
ordered  by  Nicolò  Spadari  on  May  22,  1526,  to  be  paid  for  one  half  by  him 
and  one  half  by  the  Compagnia  dell’Annunziata  at  Arezzo. 

Document  : 

Otenuto  el  patito  vésoro  buono 
-j-yhs  adj  22  dj  maggio  1526 

dj  gj(giovannj)  bonuccj  bart°  di  franc”  cabonatj  nica 
spadarj  aiq(u)ali  dedero  autorità  dj  fare  fare  ua  tavola 
di  ter(r)a  cotta  a laltare  dj  nica  spadarj  colam j 
dj  la  n(ost)ra  compa  amano  ritta  e lasva  amano  màcha 
e q(ua)l  tanto  che  si  spedara  abia  apagare  nic° 
spadarj  dj  svo  elaltra  meta  lan(ost)ra  compa  e 
abiano  affare  p(er)  lan(ost)ra  meta  lostàziaméto  qsti(qvesti) 
3 sop(r)a  dettj  hominj” 

[Arch,  di  Stato,  Confraternite  e Compagnie  Soppresse  di  Arezzo  segnato 
A.  CLXXXVIII  No.  2,  c.  47.] 

Bibl.  : 

C,  s.v.  Minerbetti;  Cr.,  331;  Geym.  V,  Antonio  Sangallo,  4-8;  M., 
R.  H.,  275-276;  P„  72;  R„  D.  R.,  25 7;  Sc.  FI.,  IV,  61-62. 

223  STEMMA  OF  FRANCESCO  DI  CASAVECCHIA.  1528.  Scar- 
peria, Palazzo  del  Vicariato.  Photo.,  Private. 

Within  a rectangular,  nearly  square,  frame  surrounded  by  a white  and 
yellow  egg  and  dart  moulding,  set  in  a concave  plate  is  a late  Tuscan  shield 
(Fig.  157 ) with  bordure  and  convex  centre,  bearing  the  Casavecchia  arms: 
Azure,  three  fleurs-de  lys,  two  and  one,  or. 


IT  Tavola 

J J 

di  ter(r)a 
cotta 


GIOVANNI  DELLA  ROBBIA 


217 


Fig.  157.  Stemma  of  Franceco  Casavecchia. 

1 > z&  ) 

Below,  a rectangular  tablet  with  filleted  border  supported  by  an  Ionic 
scroll  is  inscribed: 

J FRAN0(ESC)O  DI  PELLEGRINO 
DA  CHASAVECHIA  J 

y v( icari )0  y m^d^xxviii  y 

Pellegrino  di  Francesco  di  Banco  da  Casavecchia  was  a Prior  of  Flor- 
ence ni  1487  and  1511. 

Bibl.  : 

M.,  R.  H.,  283-284;  P.,  645. 

224  BASKET  OF  FRUIT.  New  York  City. 

( 1 ) Three  baskets  imitating  yellow  wicker  work,  containing  polychro- 
matic fruit  and  flowers  (on  one  a lizard)  were  sold  in  the  Bardini  Sale  of 

1918. 

(2)  Two  baskets  imitating  wicker  work,  filled  with  cucumbers  and  other 
fruit  (lizard,  snails,  frog),  were  sold  in  the  Tolentino  Galleries  Sale,  May, 

1919. 

Bibl.  : 

Bardini  Sale  of  1918,  Cat.,  Nos.  273-275.  Tolentino  Sale  of  1919, 
Cat.,  Addenda  No.  416. 


2l8 


GIOVANNI  DELLA  ROBBIA 


225  THREE  BOUQUETS  OF  FRUIT  AND  FLOWERS.  New  York 
City.  Bardini  Collection  Sale,  April  1918.  Diam.,  0.33m. 

Polychromatic  fruit,  flowers,  with  a frog  and  a lizard.  Two  somewhat 
similar  bunches  are  carried  by  two  cream  coloured  vases  bearing  Medici 
arms. 


Bibl.  : 

Bardini  Sale  of  1918,  Cat.,  276,  301. 

226  BUNCH  OF  FRUIT.  Rome.  Castellani  Sale  1884.  H.,  0.14m.; 
W.,  0.130m. 

The  Sale  catalogue  of  the  Castellani  collection  includes  a bunch  of  fruit 
polychrome.  The  description  “Pendentif-applique”  suggests  that  it  was  a 
fragment  of  a pilaster. 

Bibl.  : 

Castellani  Cat.,  No.  225. 

227  BUNCHES  OF  FRUIT.  Florence.  Bardini  Collection  (formerly). 


Five  bunches  of  fruit. 


GIOVANNI  DELLA  ROBBIA 


219 


ADDENDA 


228  PIETÀ  OR  LAMENTATION  OVER  THE  DEAD  BODY  OF 
CHRIST,  c.  1514.  S.  Vivaldo  (Com.  di  Montaione).  Near  the 
church.  Photo.,  Alinari,  10098. 

The  oratory  or  hermitage  of  S.  Vivaldo,  near  Montaione  and  Campo- 
rena,  became  a monastery  for  the  Frati  Minori  Osservanti  in  1497.  It  was 
doubtless  at  this  time  or  a little  later  that  the  chapels  on  a wooded  path 
near  the  church  began  to  be  filled  with  scenes  relating  to  the  Life  and  Pas- 
sion of  Christ.  These  are  popularly  attributed  to  Giovanni  Gonnelli  known 
as  II  Cieco  da  Gambassi,  a blind  sculptor  of  the  XVII  century.  They  are, 


Fig.  158.  Pietà,  S.  Vivaldo. 


however,  to  be  referred  to  the  early  years  of  the  XVI  century.  The  Pietà 
and  the  Madonna  dello  Spasimo  appear  to  be  by  a different  hand  from 
the  rest  and  may  be  attributed  to  Giovanni  della  Robbia. 

The  Pietà  or  Lamentation  scene  (Fig.  158)  is  confined  to  the  Madonna 
and  the  Dead  Christ  with  S.  Giovanni  at  the  head  and  the  Maddalena  at 
the  feet  of  Christ.  The  S.  Giovanni,  the  weakest  of  the  group,  is  by  the 
hand  of  an  assistant.  The  other  figures  are  in  style  not  far  removed  from 
the  lunette  of  the  Entombment  in  S.  Salvatore  al  Monte.  (Fig.  35),  and  the 
Pollini  altarpiece  of  1514  in  the  Museo  Nazionale  (Fig.  36).  The  repre- 
sentation of  tears  occurs  in  the  eyes  in  both  groups.  The  Madonna  is  here 


220 


GIOVANNI  DELLA  ROBBIA 


provided  with  seven  daggers,  symbolic  of  the  seven  Sorrows.  Compare 
Simeon’s  prophesy  “A  sword  shall  pierce  through  thy  own  soul  also”  (St. 
Luke,  II,  35).  By  the  XV  century  the  Sorrows  of  the  Virgin  had  become 
fixed  as  seven  in  number  and  were  symbolized  by  seven  swords. 

Bibl.  : 

Angelelli,  CCXXIX;  Cr.,  348  note;  Repetti,  s.v.  Montaione,  S.  Vi- 
valdo. 

229  LO  SPASIMO  OR  THE  SWOON  OF  THE  VIRGIN,  c.  1514. 
S.  Vivaldo  (Montaione).  Near  the  church.  Photo.,  Alinari,  10101. 

In  scenes  of  the  Deposition,  also  in  the  stations  of  the  cross  where  the 
Virgin  Mother  encounters  her  son  she  is  represented  as  fainting.  Here 
(Fig.  159)  she  is  supported  by  S.  Giovanni  and  the  Maddalena  and  the 


Fig..  159.  Swooning  of  the  Virgin,  S.  Vivaldo. 

holy  women.  The  types  are  not  far  from  those  in  the  Pollini  altarpiece  of 
1514  in  the  Museo  Nazionale  (Fig.  36).  The  figures  are  painted  but  not 
glazed  and  are  located  in  one  of  the  chapels  on  a wooded  path  near  the 
church.  There  are  said  to  have  been  originally  as  many  as  thirty  of  these 
chapels,  of  which  sixteen  survived  when  Angelelli  published  his  Memorie 
Storiche  di  Montaione  in  1875.  Alinari  photographed  seven  of  them. 

Bibl.  : 

Angelelli,  CCXXIX;  Cr.,  348  note;  Repetti,  s.v.  Montaione,  S.  Vi- 
valdo. 


GIOVANNI  DELLA  ROBBIA 


221 


230  LO  SPASIMO  OR  THE  SWOON  OF  THE  VIRGIN.  Princeton, 
N.  J.,  Collection  of  Mr.  Frank  J.  Mather,  Jr. 

Professor  Mather  possesses  a small  unglazed  terra-cotta  study  of  this 
composition. 

r <1/  d W,  ^ cA-zsl  it  o"  S ^ L 1 f l 

231  Montescalari  (formerly).  /A  of  «u  v 

In  the  ancient  Badia  at  Montescalari  were  at  one  time  some  terra-cottas 
by  Giovanni  della  Robbia.  Mr.  Rufus  G.  Mather  writes  : “Among  Mila- 
neses notes  I found  a folder  on  the  front  of  which  was  written  that  it  for- 
merly contained  notes  showing  that  Giovanni  della  Robbia  made  the  reliefs 
for  the  Abbey,  but  that  the  notes  had  been  lost.”  He  adds:  “I  have  tried 
to  rediscover  the  documents  but  so  far  without  success.” 

This  once  flourishing  Vallombrosan  Abbey  had  dwindled  in  1787  to  a 
dependency  of  the  Pieve  di  S.  Romolo  a Gaville,  and  is  today  a fattoria  be- 
longing to  the  Del  Ttirco  family.  The  Vice-parroco  della  Cura  annessa 
all’  Ex-Abazia  at  Montescalari  writes  that  the  Marchese  G.  B.  Rosselli  del 
Turco  possesses  some  fragments  of  Robbia  workmanship,  which,  however, 
have  not  been  reassembled.  However,  enough  remains  to  show  that  here 
was  represented  the  Vallombrosan  stemma:  a monk’s  arm  holding  a crutch 
(cf.  Robbia  Heraldry,  202-203,  Fig-  189). 

There  are  said  to  be  no  other  Robbia  works  at  Montescalari.  The  char- 
acter and  whereabouts  of  the  terra-cottas  noted  by  Milanesi  are  now  un- 
known. 


232  BUST  OF  CHRIST.  London,  Victoria  and  Albert  Museum,  No. 
476  ’64. 


Fig.  160.  Bust  of  Christ.  London. 


222 


GIOVANNI  DELLA  ROBBIA 


An  unglazed  bust  of  Christ  (Fig.  160)  somewhat  similar  to  the  Viviani 
della  Robbia  bust  (Fig.  161).  The  facial  type  is  slenderer  and  the  hair 
more  complicated. 

Bibl.  : 

C-M.,  270  no.  402;  Cr.,  329. 


Fig.  161.  Viviani  della  Robbia  Bust  of  Christ.  (See  above,  No.  134.) 


GIOVANNI  DELLA  ROBBIA  223 

233  NEW  DOCUMENT  FOR  THE  CEPPO  HOSPITAL  MEDAL- 
LIONS. 

A new  and  important  document,  which  reached  me  just  in  time  to  be 
inserted  in  this  place,  concerns  the  five  medallions  and  four  half  medallions 
made  by  Giovanni  della  Robbia  for  the  Ceppo  Hospital,  Pistoia,  during  the 
years  1525-1527.  The  document  indicates  that  two  medallions  were  to  be 
delivered  during  March  1525  and  the  rest  by  May  1526;  also  that  Giovanni 
should  be  paid  at  the  rate  of  four  and  a half  florins  for  each  medallion. 
This  rate  may  not  have  been  final  ; the  documents  we  have  published  imply 
that  the  price  of  the  medallions  was  augmented  to  seven  florins  each.  Pay- 
ments for  work  at  the  Ceppo  Hospital  were  received  by  Giovanni  della 
Robbia  up  to  1529,  the  year  of  his  death. 

Document:  [Discovered  and  copied  by  Mr.  Rufus  G.  Mather.] 

“1525  Indict(ione)  14 


,(In  margine:  Locatio  sculture) 

Item  postea  dictis  a(n)no  Jndict(ioni)  loco  et  die  x mensis  martij 
p(rese)nt(  i )bus  Paulo  olim  Nicci  (Niccolai)  d(e)  bends  et  Bartolo  ohm 
franc'  Savellis  civibus  florent  testibus  etc 

R(everen)dus  in  xpo( cristo)  p(ate)r  d(omi)n(u)s  L'"s  bonafidej  hos- 
pitalarius  et  rector  hospitalis  Ste  Marie  Cippi  d(e)  Pistorio  p(er)se  et  suos 
in  d ( i ) c ( t ) 0 hospital i successor) i)s  et  o(mn)i  met(iori)  mo(do)  etc  loca- 
vit  Johan (n)j  olim  Andree  marci  d(ella)  robbia  scultori  d(e)  florentia 
1525  Indict  14* 

p(rese)nti  et  conducenti  etc  ad  lahorandum  et  intagiiandum  quinque 
rotti  ( n)dos  terre  cocte  i(n)yetriate  integros  cu (m)  intagliatione  fjgurarum 
et  armorum  eo  mo  (do)  et  forma  et  scultura  et  eadem  magnitudine  unius  ro- 
tund j qué  d ( e ) (lit  scultù  et  itagliatù  cheto  dno  Ld0  dicto  no(m)i(n)e  Item 
quatuor  medios  eiusdem  sortis  q(ui)  omnes  circuì  j ascendunt  ad  su(m)- 
ma(m)  nove  rotundorum  qui  Johan(n)es  conductor  p(ro)misit  et 
sole (m) ni  stipulatione  eonvenit  dicto  dnò  Ld0  dicto  no(m)i(n)e  p(rese)nti 
et  stipulati  eidem  dare  et  tradere  duos  ex  dictis  rotùdis  itagliatos  et  p(er)- 
fectos  p(er)  tu  (turn)  p(  rese)nte(m)  mése  martij  reliquos  v(er)o  p(er) 
tutù  mése  maij  p(ro)ximi  futuri  1526  et  p(ro)  eius  labore  et  scultura 
p(ro)misit  dictus  dns  L"IS  dicto  no(mi(n)e  dare  et  solvere  eidem  Johan- 
(n)i  p(rese)nti  et  stipulàtj  ut  s(upra)  fior  aurj  quatuor  cù  dimidio  lar 
d(e)auro  I auro  p(ro)q°lbet(quolibet)  rotundo  cum  pacto  inito  Inter  dcàs 
p(ar)tes  q(uod)  si  dictus  Johannes  nò  daret  eidem  dnò  Ldo  dictos  rotùdos 


224 


GIOVANNI  DELLA  ROBBIA 


p (er) fectos  dictis  temporibus  possit  dictus  Ldus  ut  s(upra)  liceat  locare  alijs 
quibus  voluerit  et  placuerit  impensa  dicti  Johan(n)is  que  o(mn)ia  etc 
p(ro)misit  etc  attendere  etc  sub  pena  fior  xxv  auri  larg  d (e) auro  i auro 
que  pena  etc  qa(qua)  pena  etc  p(ro)  quibus  etc  obligavit  etc  renùtiavit  etc 
cui  etc  p(ro)garantigia  etc  R(ogans)  etc.” 

[Archivio  del  R.  Arcispedale  di  S.  M.  Nuova.  Rogiti  di  Ser  Antonio  di 
Michele  di  ser  Migliore  Migliorati,  Protocolli  1524-1526,  segnato  F. 
II  c.  100  ' e 101.] 

Bibl.  : 

See  above,  p.  201. 

* heading  of  p.  101.  The  first  word  of  the  page  is  “p(rese)nti.” 


III.  BIBLIOGRAPHY  AND  INDEX 


III.  BIBLIOGRAPHY  AND  INDEX 


i.  Bibliographical  Abbreviations 


Amati  = Amati,  Dizionario  corografico- 
illustrato  dell'  Italia,  io  vols.  n.  d. 

Anseimi,  A.  e.  S.,  VII  (1888)  = Anseimo 
Anseimi,  Sul  rinvenimento  di  un  prezioso 
codice  continente  nuovi  documenti  dell' 
altare  robbiano  di  Arcevia  e dei  Senesi 
fondatori  dell’  Eremo  di  S.  Girolamo,  in 
Arte  e Storia,  VII  (1888),  233-234. 

Anseimi,  A.  e.  S.,  Ili  (1884)  = Anseimo 
Anseimi,  Tesori  artistici  d’ Arcevia,  in 
Arte  e Storia,  III  (1884),  io,  21-23. 

Anseimi,  A.  S.  A.,  I (1888)  = Anseimo  An- 
seimi, Nuovi  documenti  sull’  altare  rob- 
biano nella  chiesa  di  S.  Medardo  in  Ar- 
cevia, in  Archivio  storico  dell’  arte,  I 
(1888),  369-37I- 

Anseimi,  Inventario  — Anseimo  Anseimi, 
Inventario  dei  beni  ecclesiastici  trovati 
nella  Chiesa  di  S.  Girolamo,  chiamata 
l’Heremita.  Vi  si  parla  di  un  altro  altare 
in  maiolica  oggi  perduto.  Arcevia,  1894. 
Anseimi,  Le  maioliche  robbiane  nelle 
Marche,  in  Italia  Artistica  e Industriale, 
I (1894-1895),  167. 

Ansclmi,  N.  Riv.  Mis.,  I (1888)  = Anseimo 
Anseimi,  Lettera  al  Cav.  Guido  Carocci,  in 
Nuova  Rivista  Misena,  I (1888),  38-43. 

Argnani  = Federigo  Argnani,  Le  ceramiche 
e maioliche  faentine  dalla  loro  origine 
fino  al  principio  del  secolo  XVI.  Faenza, 
1889. 

A.  e S.  = Arte  e Storia.  Florence,  1881- 

A.  S.  A.  = Archivio  storico  dell’  arte. 
Rome,  1888-1897. 

Bacci,  III.  Fior.  1908  = Pèleo  Bacci,  Docu- 
menti sconosciuti  su  Giovanni  della  Rob- 
bia, in  L’Illustratore  Fiorentino,  N.  S. 
(1908),  140-149. 

Bach  = Direktor  Bach,  Fiìhrer  durch  die 
Kunst-  und  historischen  Sammlungcn  des 
Grossherzoglichen  H essischen  Museums 
in  Darmstadt.  Darmstadt,  1908. 

Baldinucci  = Filippo  Baldinucci,  Opere.  14 
vols.  Milan,  1808-1812. 

Bardini  Sale  of  1899  = Collection  Bordini, 
3 Juin  1899.  Paris,  1899. 

Bardini  Sale  of  1902  = Catalogue  des  Ob- 
jets  d'art  . . . provenant  de  la  collection 
Bardini  a Florence.  Vente  à Londres  chez 
Mr.  Christie  le  Mai  1902.  Paris,  1902. 

Bardini  Sale  of  1918  = The  Stefano  Bardini 
Collection.  Sale  at  New  York,  Aprii  23- 
27,  1918.  New  York,  1918. 

Becchi,  III.  Fior.  V (1908)  = P.  Costanzo 
Becchi,  Y.  Jacopo  di  Ripoli  in  L’Illustra- 
tore Fiorentino,  V (1908),  97-106. 


Beni  = C.  Beni,  Guida  illustrata  del  Casen- 
tino. Florence,  1889. 

Bertaux,  Études  = Émile  Bertaux,  Études 
d’histoire  et  de  l’art.  Paris,  1911. 

Bigazzi  = Francesco  Bigazzi,  Iscrizioni  e 
Memorie  della  città  di  Firenze.  Flor- 
ence, 1887. 

Bocchi-Cinelli  = Francesco  Bocchi  e Gio- 
vanni Cinedi,  Le  bellezze  della  città  di 
Firenze  . . . scritta  già  da  M.  Francesco 
Bocchi  ed  ora  da  M.  Giovanni  Cinedi  am- 
pliate ed  accresiute.  Florence,  1677. 

B.  J.  = Henry  Barbet  de  Jouy,  Lcs  Della 
Robbia.  Paris,  1885. 

B„  A.  S.  A.,  II  (1889)  = Wilhelm  Bode, 
Luca  della  Robbia  ed  i suoi  precursori  in 
Firenze,  in  Archivio  storico  dell’  arte,  II 
(1889),  1-9. 

B.,  It.  PI.,  = Wilhelm  Bode,  Italienische 
Renaissance-Sculptur  Toscanas.  Text 
and  557  plates.  Munich,  1892-1905. 

B.,  FI.  Bildh.  — Wilhelm  Bode,  Florentiner 
Bildhaucr  dcr  Renaissance.  3d  ed.  Ber- 
lin, 1911. 

B„  FI.  Se.  = Wilhelm  Bode,  Fiorentine 
Sculptors  of  the  Renaissance.  New  York, 
1909. 

B.,  It.  PI.,  = Wilhelm  Bode,  Italienische 
Plastik,  4th  ed.  Berlin,  1905. 

B.,  Jahr.,  Vili  (1887)  = Wilhelm  Bode, 
Grappe  der  Beweinung  Christi  von  Gio- 
vanni della  Robbia,  in  Jahrbuch  der 
kòniglich  preussischen  Kunstsammlungen, 
Vili  (1887),  217-226. 

B.,  Kf.,  = Wilhelm  Bode,  Die  Kùnstlcr- 
familie  della  Robbia,  in  Dohme,  Kunst 
und  Kiinstler  Italians,  II,  1,  No.  47. 
Leipzig,  1878. 

B„  IV.  R.  D.,  = Wilhelm  Bode,  die  Wcrke 
dcr  Familie  della  Robbia.  Berlin,  1914. 

Bode-Tschudi  = Wilhelm  Bode  und  Hugo 
von  Tschudi,  Beschreibung  dcr  Bildwerke 
der  christlichen  Epoche.  Kònig.  Mus.  zu 
Berlin.  Berlin,  1888. 

Breck,  Bull.  Minn.  Inst.  V (1915)  = Joseph 
Breck,  Pomona  by  Giovanni  della  Robbia, 
in  Bulletin  of  the  Minneapolis  Insitute 
of  Arts,  IV  (1915),  no-112. 

Br.  Mus.  Guide  = A Guide  to  the  Exhibi- 
tion Galleries  of  the  British  Museum, 
Bloomsbury.  London,  1888. 

Brogi,  Inv.  = Francesco  Brogi,  Inventario 
generale  degli  oggetti  d’arte  della  provin- 
cia di  Siena . Sienna,  1897. 

Bull.  Met.  Mus.,  XIII  (1918)  = Joseph 
Breck,  Recent  Accessions,  in  the  Bulletin 


228 


GIOVANNI  DELLA  ROBBIA 


of  the  Metropolitan  Museum  of  Art,  XIII 
(1918),  144-147. 

Burckh.  = Burchardt-Bode-Fabriczy,  Der 
Cicerone.  Eine  Anleitung  zum  Genuss 
der  Kuntswerke  Italiens.  9th  ed.  Leipzig, 
1904. 

Burger  - - Fritz  Burger,  Geschichte  dcs  flor- 
entinischen  Grabmals  von  aeltesten  Zeiten 
bis  Michelangelo.  Strassburg,  1904. 

Burl.  = Marchesa  L.  Burlamacchi,  Luca 
della  Robbia.  London,  1900. 

Cahier,  Car.  d.  Saints  = Charles  Cahier, 
Caractéristiques  des  Saints  dans  Fart 
populaire.  Paris,  1867. 

Carocci  — Guido  Carocci,  I Dintorni  di 
Firenze.  2 vols.  Florence,  1906-1907. 

Carocci,  A.  I.  D.  I.,  VI  (1897)  = La  Can- 
toria nella  Pieve  di  S.  Maria  Impruneta 
ed  un  fregio  robbiano,  in  Arte  italiana 
decorativa  e industriale,  VI  (1897),  65- 
66. 

Carocci,  A.  I.  D.  /.,  V (1896)  = Guido 
Carocci,  I tondi  Robbiani  in  Toscana,  in 
Arte  italiana  decorativa  e industriale,  V 
(1896),  29-30. 

Carocci,  Galluzzo  = Guido  Carocci,  Il 
comune  del  Galluzzo.  Florence,  1892. 

Carocci,  X.  Case.  = Guido  Carocci,  Il 
comune  di  San  Casciano  in  Val  di  Pesa. 
Florence,  1892. 

Carocci,  V aldarno  = Guido  Carocci,  Il  Val- 
darno  (Italia  artistica,  No.  20).  Bergamo, 
1906. 

Cat.  of  Cantagalli  Co.  = Figli  di  Giuseppe 
Cantagalli,  Album  della  Robbia.  Flor- 
ence, n.  d. 

Cat.  Collection  Émile  Gavet  = Catalogue 
dc,s  Objets  d’Art,  etc.,  composant  la  Col- 
lection de  M.  Émile  Gavet.  Vente  31  Mai 
au  9 Juin,  1897.  Paris,  1897. 

Cat.  Collection  Maurice  Kann  = Catalogne 
des  Objets  d'Art  provenant  de  la  Collec- 
tion Maurice  Kami,  Paris,  1911. 

Cat.  of  Rita  Lydig  Collection  = The  Rita 
Lydig  Collection  of  Notable  Art  Treas- 
ures of  the  Gothic  and  Renaissance  Per- 
iods. New  York,  1913. 

C-M.,  = Camillo  Jacopo  Cavallucci  et  Émile 
Molinier,  Les  della  Robbia,  Leur  Vie  et 
leur  Oeuvre  . . . suivi  d'un  catalogue. 
Paris,  1884. 

Ciacconius  = Alonso  Ciacconius  (Chacon), 
Vitae  et  res  gestae  Pontificum  Romano- 
rum  et  S.  R.  E.  Cardinalium,  etc.  4 vols. 
Rome,  1630,  also  1677. 

Cocchi  = Arnaldo  Cocchi,  Le  chiese  di 
Firenze  dal  secolo  IV  al  secolo  XX. 
Florence,  1903. 

Contrucci  = Pietro  Contrucci,  Monumento 
robbiano  nella  loggia  della  spedale  di 
Pistoia.  Prato,  1835. 

C.  = G.  B.  di  Crollalanza,  Dizionario  sto- 
rico-blasonico delle  famiglie  nobili  e no- 
tabile italiane.  3 vols.  Pisa,  1886. 

Cr.  = Maud  Cruttwell,  Luca  and  Andrea 
della  Robbia  and  their  Successors.  Lon- 
don and  New  York,  1902. 


Cr.,  Verrocchio  = Maud  Cruttwell,  Verroc- 
chio. London  and  New  York,  1904. 

Davanzati  Sale  Cat.  = Art  Treasures  and 
Antiquities  from  the  famous  Davanzati 
Palace.  Sale  Catalogue.  New  York,  1916. 

Delange  = Flenry  Delange,  Histoire  des 
peintures  sur  majoliques  faite  a Pesai-o, 
dccrite  par  G.  B.  Passeri,  traduite  df 
ITtalien  et  suivie  d'une  Appendice.  Paris, 
London,  Florence,  1853. 

Demmin  = Auguste  Frédéric  Demmin, 
Guide  de  V amateur  de  faiences  et  porce- 
laines,  etc.  Nouv.  ed.  Paris,  1863. 

Deneken,  Z.  f.  chr.  K.,  VI  (1893)  = Fried- 
rich Deneken,  Thonaltar  des  Giovanni 
della  Robbia,  in  Zeitschrift  fur  christliche 
Kunst,  VI  (1893),  354,  Taf.  10. 

Fabriczy,  A.  S.  A.,  Ill  (1890)  = Cornel  von 
Fabriczy,  Un  opera  di  Giovanni  della  Rob- 
bia, in  Archivio  storico  dell’  arte,  III 
( 1890), 162. 

Fabr.  /.  k.  p.  K.,  XXX  (1909)  = Cornei  von 
Fabriczy,  Kritisches  V erzeichnis  toscani- 
scher  Holz-  und  Tonstataen  bis  sum  Be- 
gum des  Cinquecento,  in  Jahrbuch  der 
kònig,  preuszischen  Kunstsammlungen 
XXX  (1909),  Beiheft  1-88. 

von  Falke  = Otto  von  Falke,  Majolika. 
(Hdb.  d.  Kònig.  Mus.  zu  Berlin.  Kunst- 
gewerbe  museum.)  Berlin,  1907. 

Fortnum,  Maiolica  = Charles  Drury  Ed- 
ward Fortnum,  Maiolica.  Oxford,  1896 

Fov.  = Jean  de  Foville,  Les  della  Robbia. 
Paris,  1910. 

Frati  = Frati,  Del  Museo  Pasolini  in  Faenza 
Società  Tip.  Bolognese,  1852. 

Geynniller  = Freiherr  Heinrich  Adolf  von 
Geymiiller  und  C.  M.  von  Stegmann,  Die 
Architektur  der  Renaissance  in  Toscana. 
11  vols.  Munich,  1885-1908. 

Giglioli  = Odoardo  H.  Giglioli,  Empoli  Ar- 
tistica. Florence,  1906. 

Giglioli.  Pistoia  = Odoardo  H.  Giglioli, 
Pistoia  nelle  sue  opere  d'arte.  Florence, 
1904- 

Graziani  = Giovanni  Graziani,  L’Arte  a 
Città  di  Castello.  Città  di  Castello,  1897. 

Gualandi  = Michel  Angelo  Gualandi,  Me- 
morie originali  italiane  risguardanti  le 
belle  arti.  Bologna,  1840- 

Guasti,  Cafaggiolo  = Gaetano  Guasti,  Ca- 
faggiolo  e d'altre  fabbriche  di  ceramiche 
in  Toscana.  Florence,  1902. 

111.  Fior.  = L'Illustratore  Fiorentino.  Flor- 
ence, 1880-  Nuova  Serie,  1904- 

Jameson,  Leg.  Mon.  Orders  = Mrs.  Jame- 
son, Legends  of  the  Monastic  Orders. 
London  and  New  York,  1890. 

Knapp  = Fritz  Knapp,  Fra  Bartolommeo 
della  Porta . Halle,  1903. 

von  Lamia  Sale  1909  = Sammlung  des  frei- 
herrn  Adalbert  von  Lamia  (Prag).  Ver- 
stei.gerung,  Nov.  9-16,  1909,  2 vols.  Ber- 
lin, 1909. 

Lazari  = Vincenzo  Lazari,  Notizia  delle 
opere  d’arte  e d’antichità  della  raccolta 
Correr  di  Venezia.  Venice,  1859. 


GIOVANNI  DELLA  ROBBIA  229 


Litta  = Conte  Pompeo  Litta,  Famiglie  cele- 
bri d'Italia.  Milan,  1819- 

Maccio  = D.  Maccio,  Nuova  guida  della 
città  di  Fiesole.  Volterra,  1869. 

Mackowsky  = Hans  Mackowsky,  Verroc- 
chio. Bielefeld  und  Leipzig,  1901. 

Malagola  = Carlo  Malagola,  Memorie 
storiche  sulle  maioliche  di  Faenza.  Bo- 
logna, 1882. 

Marcotti  = J.  Marcotti,  Guide-Souvenir  de 
Florence.  Florence,  1892. 

M„  A.  in  Am.,  V (1917)  = Allan  Marquand, 
A Statuette  of  Dovizia  by  Giovanni  della 
Robbia  in  the  Minneapolis  Museum,  in 
Art  in  America,  V (1917),  195-199. 

M.,  Arts  and  Dec.  = Allan  Marquand,  Gio- 
vanni della  Robbia's  Kneeling  Madonna, 
in  Arts  and  Decoration,  VI  (1915),  26, 
Frontispiece. 

M„  A.  J.  A.  XXII  (1918)  = Allan  Mar- 
quand, Unpublished  Documents  relating  to 
the  Ceppo  Hospital  at  Pistoia,  in  Ameri- 
can Journal  of  Archaeology,  XXII  (1918), 
36I-377- 

M.,  Br.  = Allan  Marquand,  The  Decoration 
of  the  Ceppo  Hospital  at  Pistoia,  in  The 
Brickbuilder,  II  (1902),  222-224. 

M.,  D.  R.  A.,  — Allan  Marquand,  Della 
Robbias  in  America.  Princeton  and  Ox- 
ford, 1912. 

M.,  R.  H.,  = Allan  Marquand,  Robbia  Her- 
aldry. Princeton  and  Oxford,  1919. 

M.,  Sc.  Mag.  = Allan  Marquand,  A Search 
for  della  Robbia  Monuments  in  Italy,  in 
Scribner’s  Magazine,  Dec.,  1893. 

Marryatt  = Joseph  Marryat,  A History  of 
Pottery  and  Porcelain.  London,  1850. 

R.  G.  M.,  L’Arte,  1918-1919  = Rufus  G. 
Mather,  Nuovi  Documenti  Robbiani  in 
L'Arte,  XXI  (1918),  190-209;  Idem,  Sec- 
onda serie,  L’Arte,  XXII  (1919),  105-112; 
Idem,  Terza  Serie,  L’Arte,  XXII  (1919), 
243-248.  _ 

Mencherini,  Padre  Saturnino  Mencherini, 
Guida  illustrata  della  Venta.  Quarac- 
chi,  1907. 

Meyer,  Mittelitalien  = Theodor  Gsell-Fels, 
Mittcl-I talien,  in  Meyer’s  Reisebucher. 
Leipzig,  1886. 

Michel  = André  Michel,  Histoire  de  l'Art 
depuis  Ics  premiers  temps  chrétiens 
jusqu’a  a nos  jours.  5 vols.  published. 
Paris,  1905- 

Migliore  = Ferdinando  Leopoldo  del  Mi- 
gliore, Firenze  città  nobilissima  illustrata, 
Florence,  1684. 

Milanesi,  Mise.  = Gaetano  Milanesi,  Mis- 
cellanea d'Arte.  Ms  Several  vols. 
Liena. 

Molinier,  Cat.  Gavct  — Émile  Molinier,  La 
Collection  Émile  Gavct.  Catalogue  rai- 
sonné,  etc.  Paris,  1889. 

Moreni  = Morelli,  Notizie  istorische  dei 
dintorni  di  Firenze,  Florence,  1792. 

Morrona  = Alessandro  da  Morrona,  Pisa 
illustrata  nelle  arti  del  disegno.  Leghorn, 
1812. 


Mriller-Walde  = Paul  Muller-Walde,  Leon- 
ardo da  Vinci.  Munich,  1889. 

Perkins,  T.  S.  — Charles  C.  Perkins,  Tus- 
can Sculptors.  2 vols.  London,  1864. 

Poggi,  Burl,  Mag.  = Giovanni  Poggi,  The 
Annunciation  of  Botticelli,  in  Burlington 
Magazine,  XXVIII  (1915-1916),  129,  note 
4- 

P.,  = Prioristà,  a Manuscript  in  the  Prince- 
ton Museum  containing  a classified  list  of 
the  Priors  of  Florence  with  their  coats  of 
arms. 

Rass.  bibl.  arte  ital.  = Rassegna  bibliogra- 
fica dell’  arte  italiana.  Rocca  S.  Casciano, 
e Ascoli,  1898- 

Repetti  = Emanuele  Repetti,  Dizionario 
geografico,  fisico  storico  della  Toscana. 
6 vols.  Florence,  1833-1846. 

R.,  D.  R.,  = Marcel  Reymond,  Lcs  della 
Robbia.  Florence,  1897. 

R. ,  Se.  FI,  = Marcel  Reymond,  La,  Sculp- 
ture Fiorentine.  4 vols.  Florence,  1897- 
1900. 

Ricci,  Volterra  = Corrado  Ricci,  Volterra 
(Italia  artistica.  No.  18).  Bergamo,  1905. 

Richa  = Guiseppe  Ridia,  Notizie  istorische 
delle  chiese  fiorentine,  io  vols.  Flor- 
ence, 1754-1762. 

Robinson  = J.  C.  Robinson,  Italian  Sculp- 
ture of  the  Middle  Ages  and  Period  of 
the  Revival  of  Art  in  the  South  Kensing- 
ton Museum,  London,  1862. 

Roscoe  = William  Roscoe,  The  Life  and 
Pontificate  of  Leo  the  Tenth.  2 vols. 
London,  1855-1858. 

Roselli,  Sepoltuario  = Rosselli,  Sepoltuario 
fiorentino.  2 vols.  Ms.  Cart.  sec.  XVIII 
fol.  in  Bibl.  Magliabecchiana.  Florence. 

von  Rumohr  = C.  F.  von  Rumohr,  Italien- 
ische  Forschungen.  3 vols.  Berlin  und 
Stettin,  1827-1831. 

Ruskin  = John  Ruskin,  The  Works  of  John 
Ruskin.  Library  edition.  Edited  by  E.  T. 
Cook  and  Alexander  Wedderburn.  Lon- 
don and  New  York,  1903-1912. 

Sachs  = Curt  Sachs,  Das  Tabernakel  mit 
Andrea’s  del  Verrocchio  Thomas  grappe. 
Strassburg,  1904. 

Schottmiiller  = Frida  Schottmiiller,  Die 
Italienischen  und  Spanischen  Bildwerke 
der  Renaissance  and  Barocke,  etc.  Konig. 
Mus.  zu  Berlin,  Beschreibung  der  Bild- 
werke der  christlichen  Epochen.  2te 
Auflage.  Berlin,  1913. 

S.  = Paul  Schubring,  Luca  della  Robbia 
und  seine  Familie.  Bielefeld  und  Leip- 
zig, 1905. 

Schiitz  = Alexander  Schiitz,  Die  Renais- 
sance in  Italian.  4 vols.  Hamburg,  1882. 

Seillière  Collection  = Catalogue  dcs  Ob- 
jets  d’Art,  etc.,  provenant  de  l'importante 
Collection  de  feu  M.  le  Baron  Achille 
Seillière.  Paris,  1890. 

Solon,  It.  Maiolica  — Louis  Marc  Emman- 
uel Solon,  A History  and  Description  of 
Italian  Maiolica,  London,  Paris,  New 
York,  1907. 


230 


GIOVANNI  DELLA  ROBBIA 


Sommerard,  Cat.  = E.  du  Sommerard,  Mu- 
sco des  T kermes  et  de  l’Hotel  de  Cluny. 
Catalogue  et  description  des  objets  d’art, 
etc.  Paris,  1883. 

Spitzer  Cat.  = Catalogue  des  objets  d'art, 
etc.,  composant  l’importante  et  précieuse 
Collection  Spitzer.  Paris,  1893. 

Springer  = Anton  Springer,  Handbuch  der 
Kunstgeschichte.  Ili  Die  Renaissance  in 
Italian.  4th  ed.  Leipzig,  1896. 

Supino  = Igino  Benvenuto  Supino,  Cata- 
logo del  R.  Museo  Nazionale  di  Firenze. 
Rome,  1898. 

Tieck  = Friedrich  Tieck,  V erseichniss  von 
Werken  der  della  Robbia,  Majolica,  Glas 
malereien  u.  s.  w.,  in  Kònig.  Mus.  zu  Ber- 
lin. Berlin,  1835. 

Tieck-Gerhard  = Friedrich  Tieck  und  Ed- 
uard Gerhard,  Vi erzeìchniss  der  Bild- 
werke  in  Kònig  Museum  in  Berlin.  Ber- 
lin. 

Tolentino  Sale  of  1919  = The  Very  Impor- 
tant Tolentino  Galleries  Collection.  Sale, 
May  1-2,  1919.  New  York,  1919. 

Vas.,  = Giorgio  Vasari,  Le  vite  de’  più  ec- 
celenti  pittori,  scultori,  ed  architettori. 


Con  nuove  annotazioni  e commenti  di 
Gaetano  Milanesi.  9 vols.  Florence, 
1878-1906. 

Vaughan  = Flerbert  M.  Vaughan,  The 
Medici  Popes.  New  York  and  London, 
1908. 

V.,  = Adolfo  Venturi,  Storia  dell’  arte 
italiana.  7 vols.  published.  Rome,  1901- 

Volpi  Sale  of  1917  = Catalogue  of  the  Col- 
lection of  Art  Treasures  and  Antiquities 
acquired  during  the  past  year  by  Prof. 
Comm,  Elia  Volpi.  Sold  Dec.  17-19,  1917. 
New  York,  1917. 

Wallis,  Ital.  Ceramic  Art  = Henry  Wallis, 
A Study  in  the  History  of  Early  Italian 
Maiolica.  London,  1901. 

Wills  = Howel  Wills,  Florentine  Heraldry. 
London,  1900. 

Yriarte,  Gaz.  B.  A.,  XXVI  K1882)  = 
Charles  Yriarte,  L’Art  en  Portugal  (troi- 
sième  et  dernier  article),  in  Gazette  des 
Beaux  Arts,  XXVI  (1882),  26-36. 

Z.  f.  b.  K.  = Zeitschrift  fiir  bildende 
Kunst.  Leipzig,  1866- 

Z.  f.  chr.  K.  = Zeitschrift  fiir  christliche 
Kunst.  Dusseldorf,  1888- 


2.  Index  of  Subjects 


Abraham,  129,  168. 

Acciaiuoli  stemma,  17. 

Accolti  stemma,  70. 

Adam,  168. 

Adam  and  Eve,  90. 

Adimari  stemma,  201. 

Adoration  by  the  Shepherds,  183. 

Altoviti  stemma,  102. 

Angels, 

adoring,  6,  63,  120. 

candelabrum  bearers,  54,  57-62,  116,  125, 
126,  154. 

with  crown,  161,  164,  178. 
with  garland,  12. 
with  mandorla,  87. 
musical,  154. 

Annunciation,  81,  121,  124,  131,  148,  158,  196, 
203. 

Antinori  stemma,  192. 

Ascension,  47. 

Assumption,  88,  129,  195. 

Bacchus,  213,  214. 

Baptism,  51,  52,  113. 

Bartolini-Salimbeni  stemma,  no. 

Base,  116. 

Benozzi  stemma,  95. 

Betrayal,  187. 

Birth  of  the  Virgin,  183. 

Blindfolding,  187. 

Buonafede  stemma,  100,  1 1 5,  119. 
Buondelmonti  stemma,  86,  90,  207. 

Calcagni  stemma,  81. 

Capture  of  Christ,  187. 

Casavecchia  stemma,  217. 

Casks,  29. 

Ceppo  hospital  stemma,  196. 


Chastity,  27. 

Cherub,  125,  133,  154,  209. 

and  cornucopia  frieze,  25,  26. 
with  tambourine,  84. 

Christ,  55,  56,  115,  1 19,  120,  121,  133,  136, 
170,  221. 
child,  105,  124. 
bearing  cross,  187. 
led  away,  187. 
dead,  68-80. 
entombed,  68,  69. 
in  the  sepulchre,  *26,  182. 

Ciborio,  15,  95,  98,  99,  100,  102,  103,  105,  190. 

Console,  124,  215. 

Corbinelli  stemma,  192. 

Coronation,  84. 

Daniel,  129,  168. 

David,  83,  129,  168,  212. 

Denial  by  Peter,  187. 

Documents,  7,  10,  30-34,  56,  58,  63-66,  72,  92, 
131,  140,  155,  173-174.  180,  188-189,  199- 
201,  202,  216. 

Dovizia,  209,  212. 

Elijah,  168. 

Entombment,  68,  69. 

Evangelists,  140,  168-171. 

Eve,  168. 

Folcili  stemma,  146. 

Fruit  basket,  217. 
bunches,  218. 

Gaetani  stemma,  48. 

Garland,  185. 

Gethsemane,  187. 

Giantigliazzi  stemma,  201. 

Ginori  stemma,  99. 

God  the  Father,  84. 


GIOVANNI  DELLA  ROBBIA 


231 


Goliath  head,  212. 

Hammer  and  pincers,  187. 

Holy  Water  Stoup,  11. 

Immaculate  Conception,  81. 

Incredulity  of  S.  Tommaso,  24. 

Isaiah,  174. 

Jeremiah,  129. 

Jonah,  129,  168. 

Joshua,  168. 

Judith,  168,  212. 

Lamentation,  69-80,  219. 

Lapi  stemma,  208. 

Last  Judgment,  21. 

Last  Supper,  120. 

Lavabo,  3. 

Leo  X,  90. 

Macinghi  stemma,  179. 

Madonna,  5,  8,  9,  io,  54,  55,  95,  108,  no,  123, 
137,  138,  141-144,  155-160,  163,  164,  171. 
176-183,  205,  215. 
della  Cintola,  85,  88. 

Magalotti  stemma,  96. 

Malchus,  187. 

Mannucci  stemma,  88. 

Maries  visit  the  sepulchre,  146. 

Mater  Dolorosa,  26,  69-80,  147. 

Minerbetti  stemma,  48. 

Moses,  129,  168. 

Montidoglio  stemma,  79. 

Montoliveto  stemma,  164. 

Nativity,  54,  63,  66,  153,  183,  185. 

Niccolini  stemma,  40. 

Nicodemus,  69. 

Noah,  168. 

Noli  me  tangere,  23,  133-136. 

Obedience,  27. 

Olivetani  stemma,  182. 

Panichi  stemma,  154. 

Paoli  stemma,  95. 

Particini  stemma,  206. 

Passion,  symbols  of,  190. 

Pazzi  stemma,  in,  194. 

Pietà,  see  Lamentation. 

Pilaster  decorated,  62. 

Pistoia  stemma,  195. 

Pollini  stemma,  70. 

Poverty,  27. 

Predella  with  Saints,  119,  120. 

Puppies,  210. 

Putti,  83,  85. 

Quaratesi  stemma,  69. 

Resurrection,  45,  190. 

Rinuccini  stemma,  96. 

Salviati,  86,  90. 

S.  Agata,  172. 

Agostino,  83,  170. 

Ambrogio,  83,  107,  170. 

Andrea,  169. 

Anna,  81,  84,  183. 

Ansano,  129,  172. 

Antonio  Abate,  66,  73,  131,  157,  165,  166, 
170. 

Antonio  of  Padua,  26,  79,  81,  83. 
Apollonia,  172. 

Barbara,  155,  172. 

Bartolommeo,  169. 

Benedetto,  93,  164,  169,  182. 

Bernardino,  26. 


Bernardo,  93,  182. 

Bonaventura,  81. 

Bruno,  169. 

Caterina,  155,  159,  172. 

Cecilia,  172. 

Domenico,  14,  73,  157,  159,  170,  175,  178. 
Donato,  142. 

Elisabetta,  185,  193. 

Elisabetta  of  Hungary,  27. 

Filippo,  169. 

Filippo  Benizzi,  157. 

Francesco,  26,  78,  79,  81,  83,  148,  149,  170. 
Gabriele,  see  Annunciation. 

Gioacchino,  183. 

Giorgio,  170. 

Giovanni  Battista,  55,  86,  116,  118,  119, 
129,  140,  142,  169,  180,  187. 

Life  of,  49,  54,  112,  114. 

Giovanni  Evangelista,  26,  69-80,  140,  147, 
159,  169,  180. 

Giovanni,  49,  52,  53,  54,  113,  115,  144, 
178,  181. 

Girolamo,  26,  54,  55,  79,  116,  140,  170. 
Giuseppe  d’Arimatea,  69. 

Jacopo  Maggiore,  26,  129,  155,  169,  175, 

178. 

Jacopo  Minore,  169. 

Leonardo,  116. 

Lino,  46. 

Lodovico,  27,  81. 

Lorenzo,  66,  155,  169. 

Luca,  140,  1 71 . 

Lucia,  io,  29,  57,  159,  172. 

Marco,  129,  140,  169. 

Margareta,  172. 

Maria  Egiziaca,  54. 

Maria  Maddalena,  54,  69-80,  81,  116,  119, 
147.  159.  i72- 
Marta,  28,  29,  172. 

Martino,  170. 

Matteo,  119,  140,  168,  180. 

Mattia,  169. 

Michele,  78,  79,  176. 

Niccolò,  66,  170. 

Orsola,  150-152,  172. 

Paolo,  169. 

Pietro,  129,  142,  169. 

Pietro  Martire,  13,  14. 

Rocco,  157,  185,  189. 

Romolo,  142,  144. 

Sebastiano,  66,  119,  157,  172,  180,  185, 
189. 

Simone,  169. 

Stefano,  66,  157,  187. 

Taddeo,  169. 

Tommaso,  86,  88,  169. 

Tommaso  d’Acjuino,  159. 

Ugo,  170. 

Veronica,  172,  187. 

Zanobi,  157,  170. 

Sapiti  stemma,  53. 

Spasimo,  220,  221. 

Segni  stemma,  206. 

Simonetti  stemma,  95. 

Solomon,  83. 

Spigliati  stemma,  162. 

Sposalizio,  183. 

Squarcialupi  stemma,  29. 


GIOVANNI  DELLA  ROBBIA 


Stemma,  6,  17,  29,  40*  48,  53,  69,  70,  79,  81, 
86,  88,  90,  95,  96,  99,  100,  102,  119,  146,  154, 
162,  164,  178,  182,  192,  194,  195,  196,  199, 
201,  204-208,  21 6. 

Stoup  for  Holy  Water,  11. 

Tiles,  5. 

Two  thieves,  187. 


Urban  II,  170. 

Vases,  35-40. 

Visitation,  185,  193,  198. 
Visit  to  Sepulchre,  146. 
Warrior,  214,  215. 
Washing  of  hands,  187. 
Woman,  159. 


3.  Index  of  Places 


Arcevia,  54,  57. 

Arezzo,  13,  215. 

Ashridge  Park,  88. 

Baltimore,  90. 

Berlin, 

Kaiser  Friedrich  Museum,  60,  76,  84, 
140,  152,  165,  210,  212,  214. 
Kunstgewerde  Museum,  38. 

Beckerath  Collection,  60. 

Borgo  S.  Lorenzo,  99. 

Boston, 

Museum  of  Fine  Arts,  80,  133. 

Lindon  Smith  Collection,  60. 

Mrs.  Gardner  Collection,  73. 
Braunschweig,  38. 

Brooklyn,  190. 

Buonsollazzo,  63. 

Campi,  189. 

Cascio,  160. 

Casole,  183. 

Cerreto  Guidi,  49,  100. 

Certaldo,  192. 

Certosa,  167. 

Città  di  Castello,  121. 

Colle,  185. 

Cologne,  87. 

Convertose,  190. 

Cornocchio',  108. 

Darmstadt,  29. 

Dicomano,  no. 

Empoli,  io. 

Faenza,  69. 

Fiesole, 

Duomo,  144,  146. 

La  Doccia,  78. 

S.  Ansano,  il,  12,  105,  193. 

S.  Francesco,  185. 

Seminario,  142. 

Finalpia-Savona,  180,  181. 

Florence, 

Museo  Nazionale,  14,  28,  45,  47,  48,  69, 
93.  95.  98,  119,  125.  135,  136,  144,  146- 
148,  150-152,  161-162,  214. 

Galleria  Buonarroti,  84. 

S.  Ambrogio,  57. 

SS.  Apostoli,  15. 

S.  Barnaba,  138. 

S.  Croce,  150,  157. 

S.  Jacopo  di  Ripoli,  176. 

S.  Iacopino  in  Polverosa,  178. 

S.  Maria  della  Misericordia,  59. 

S.  Maria  Novella,  3,  133. 

S.  Maria  Nuovo,  29. 

S.  Michele  in  Palchetto,  99,  193. 

S.  Onofrio,  136. 


S.  Piero  Maggiore,  120. 

S.  Salvatore,  68. 

Alessandri  Collection,  14. 

Bardini  Collection,  37,  59,  116,  212,  213, 
218. 

Cantagalli,  39. 

Frescobaldi,  59,  215. 

Girard’s,  99. 

Palmieri,  Villa,  124. 

Sorbi,  Casa,  124. 

Piazza  S.  Ambrogio,  107. 

Via  Nazionale,  155. 

(near)  Certosa,  167. 

Vincigliata,  164. 

Galatrona,  112,  115,  116,  118,  1 19,  140. 
Lamporecchio,  185. 

Lari,  205. 

Lisbon,  175. 

London, 

British  Museum,  25,  36. 

Victoria  and  Albert  Museum,  29,  39,  77, 
78,  81,  120,  121,  209,  221. 

Donaldson’s,  60. 

Lucca,  85. 

Luco  in  Mugello,  138. 

Minneapolis,  209. 

Monte  Olivete  Maggiore,  163,  164. 

Newport,  R.  L,  26,  177. 

New  York, 

Metropolitan  Museum,  8,  36,  201. 
Bardini  Sale,  36,  100,  217,  218. 
Blumenthal  Collection,  29,  204. 
Bonaventura’s,  75. 

P.  W.  French  & Co.,  26. 

Davanzali  Sale,  100,  159. 

Lydig  Collection,  35. 

■ Pratt  Collection,  35. 

Seligman  Galleries,  122. 

Thaw  Collection,  8. 

Tolentino  Sale,  133. 

Volpi  Collection,  52. 

Oliveto,  102. 

Oxford,  37. 

Palaja,  121. 

Panzano,  102. 

Paris, 

Cluny,  53,  61,  62. 

Louvre,  26,  37,  60,  61,  105-107,  133,  166, 
175-176,  214,  215. 

Gavet  Collection,  26,  38,  61. 
Heilbronner’s,  81,  212. 

Kann  Collection,  36. 

Lowengard’s,  178. 

Sei llière  Collection,  26,  38. 

Spitzer  Collection,  204,  215. 


GIOVANNI  DELLA  ROBBIA 


233 


Pescina,  66,  105. 

Pisa,  129. 

Pistoia,  195,  207. 

Poggibonsi,  81. 

Poppi,  206. 

Prague,  95. 

Pratovecchio,  180,  181. 
Princeton,  126,  221. 

Rifredi,  La  Quiete,  23,-24,  25. 
Rome, 

Vatican,  93,  107. 
Castellani’s,  218. 

Roslyn,  no. 

Rovezzano,  176. 

S.  Amato,  61. 

S.  Casciano,  62. 


S.  Donato  in  Poggio,  54. 

S.  Gimignano,  62. 

S.  Giovanni  in  Valdarno,  40,  85,  in,  194. 
S.  Miniato  al  Tedesco,  203. 

S.  Piero  a Sieve,  114. 

S.  Quirico  d’Orcia,  183. 

S.  Vivaldo,  219,  220. 

Scandicci,  137. 

Scarperia,  208,  216. 

Sesto,  53. 

Settimo,  52. 

Sèvres,  37. 

Ussé,  160. 

LaVerna,  78. 

Vincigliata,  164. 

Volterra,  9,  21,  26,  46,  88. 


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